Podcasts about Merton

Writer David Scott has just released a new book looking at the career of Caroline Aherne so we got him into the virtual studio for a discussion. We go on at length about how much we love The Royle Family but also take on Mrs Merton, The Fast Show, The Fattest Man in Britain, and Dossa and Joe. Caroline Aherne: Rebel in Disguise is available in all good book shops, and some bad ones as well.

Filosofía de la ciencia en serio: las tres grietas del conocimiento, con dos filósofos de la ciencia. ¿Por qué funciona la ciencia si no es del todo segura?En 1610 Galileo apuntó su telescopio al cielo y no actualizó el mapa heredado: lo rompió. Mucha gente prefirió no mirar. Este episodio usa ese gesto como metáfora: las preguntas de la filosofía de la ciencia son las grietas de nuestro mapa del mundo.Recorremos tres grietas del método científico:La inducción no garantiza el futuro: David Hume y el pavo de Bertrand Russell.Los hechos no se ordenan solos: Henri Poincaré ("una pila de piedras no es una casa").El observador altera lo observado: Werner Heisenberg.Y la gran pregunta: si el mapa tiene grietas, ¿por qué funciona la ciencia?Para responder entrevisto a dos filósofos de la ciencia: Alfredo Marcos (catedrático en la Universidad de Valladolid) y María de Paz (Universidad de Sevilla). Les hago las mismas tres preguntas —qué estudia la filosofía de la ciencia, cuándo nace como disciplina y tres libros para empezar— y luego exploramos zonas poco tratadas: los sesgos de género y el eurocentrismo en la ciencia, los científicos que también filosofaron (Newton, Poincaré, Heisenberg) y el sociólogo Robert Merton con su "etos" de la ciencia (las normas CUDOS).Una introducción rigurosa y para todos los públicos a la metaciencia y la epistemología, con Kuhn, Popper, Feyerabend, Duhem y Hacking de fondo.Invitados:Alfredo Marcos — Catedrático de Filosofía de la Ciencia, Universidad de Valladolid. Contacto: amarcos@uva.esMaría de Paz — Filósofa de la ciencia, Universidad de Sevilla. Contacto: mdepaz3@us.esPara empezar a leer (recomendaciones de los invitados):Thomas Kuhn — La estructura de las revoluciones científicasKarl Popper — Conjeturas y refutacionesPaul Feyerabend — Contra el métodoPierre Duhem — La teoría físicaIan Hacking — Representar e intervenirHenri Poincaré — Ciencia e hipótesisAntonio Diéguez — La ciencia en cuestiónCapítulos:00:00 Avance (mejores momentos)01:11 Intro01:35 Hoy: filosofía de la ciencia02:09 Galileo y el telescopio: romper el mapa04:49 Grieta 1: la inducción (Hume y el pavo de Russell)07:20 Grieta 2: los hechos no se ordenan solos (Poincaré)08:07 Grieta 3: el observador altera lo observado (Heisenberg)09:04 Si el mapa tiene grietas, ¿por qué funciona?09:44 Entrevista: Alfredo Marcos y María de Paz10:06 ¿Qué estudia la filosofía de la ciencia?15:49 ¿Cuándo nace la disciplina?24:00 Tres libros para empezar31:54 Zonas por explorar: sesgos de género y eurocentrismo36:34 Científicos que filosofaron (Newton, Poincaré, Heisenberg)41:15 Merton y el "etos" de la ciencia (CUDOS)46:18 Cierre: seguir mirando por el telescopioComunidad de investigadores: https://horacio-ps.com/comunidadNewsletter: https://horacio-ps.com/newsletterSi el episodio te ha resultado útil, dale like, suscríbete o compártelo en Spotify, Apple Podcasts, iVoox o YouTube.

Join Robert Ellsberg, publisher of Orbis Books, in this One On One interview with James Finley as they discuss Thomas Merton (Turning to the Mystics)https://orbisbooks.com/products/thomas-merton-turning-to-the-mysticsThis new series, Turning to the Mystics, grows out of the much-loved podcast in which James Finley gently accompanies listeners into the wisdom of the Christian mystical tradition. Each volume offers a contemplative reading of one or two mystics, weaving their wisdom together with Finley's reflective commentary and simple practices for prayer. These mystics become living guides, offering room to notice how grace is already moving in the reality of our own lives and revealing the ever-present intimate nearness of God. In this volume, he delves into the mystical insights of Thomas Merton, the renowned Trappist monk, whom Finley first knew as his novice master at the Abbey of Gethsemani.James Finley, a psychotherapist and renowned retreat leader and spiritual director, is part of the Core Faculty of the Center for Action and Contemplation in New Mexico. A former novice at the Trappist Abbey of Gethsemani, he is well known for his classic, Merton's Palace of Nowhere. His other books include his recent bestseller, The Healing Path: A Memoir and an Invitation. He lives in California.Get your copy today: https://orbisbooks.com/products/thomas-merton-turning-to-the-mystics#OrbisBooks #JamesFinley #RobertEllsberg #Mystics #Catholic #Christian #Wisdom

Luke Grant speaks with Rachel Merton on the aerial culling of wild horses in Kosciuszko National Park. The NSW Member of the Legislative Council shares her outrage over the upcoming slaughter, questioning the government's population data and calling for humane alternatives to protect these iconic animals. Find out why she crossed the floor to take a stand against the NSW Government's policy before the helicopters take flight.See omnystudio.com/listener for privacy information.

In this solo episode of the Anglotopia Podcast, Jonathan Thomas delivers his definitive guide to Oxford — his favorite city in England outside of London and the subject of his guidebook 101 Oxford Travel Tips and Tricks. From the bleary-eyed chaos of his first visit in 2012 with an angry 16-month-old and the Mini Cooper factory ring road at midnight, to two stays as a student on the Oxford Experience program, Jonathan brings nearly 15 years of personal history with the city to bear on a comprehensive, enthusiastic, and practically useful travel guide. The episode covers how to get there, how long to stay, the Oxford Experience immersive student program, the colleges you must see, the Bodleian Library's remarkable layers, the essential museums, the unrivaled bookstore scene led by Blackwell's and its famous five-mile Norrington Room, Oxford's extraordinary literary connections from Lewis Carroll to Tolkien to Philip Pullman, the day trips that demand your time — including Blenheim Palace and the Cotswolds — and the practical tips that will make your visit infinitely more enjoyable. Links 101 Oxford Travel Tips and Tricks by Jonathan Thomas — [Anglotopia Store link] Oxford Experience at Christchurch English-Speaking Union Oxford Course Bodleian Library Tours — bodleian.ox.ac.uk Blackwell's Bookshop Oxford — blackwells.co.uk Oxford University Press Bookshop Scriptum, Turl Street Ashmolean Museum — ashmolean.org Pitt Rivers Museum — prm.ox.ac.uk Blenheim Palace — blenheimpalace.com Rousham House & Garden — rousham.org Didcot Railway Centre — didcotrailwaycentre.org.uk Oxford Walking Tours Morse Walking Tour Oxford The Randolph Hotel (now Graduate Oxford) Friends of Anglotopia ⠀ Takeaways Oxford is Jonathan's favourite city in England outside London — and most Americans either skip it or see it in a rushed half-day bus tour that barely scratches the surface. Two days minimum is the right call; three is better. Oxford is just 60 miles and 40-45 minutes by direct train from London Paddington, making it one of the easiest day trips or overnights in Britain — and you can also get there direct by bus from Heathrow without going into London at all. The Oxford Experience — a residential immersive programme at Christchurch offering one-week courses for adults in July and August — is Jonathan's single highest recommendation for anyone who wants to truly inhabit the city. Courses cost £1,500–£2,000 all-in and include room, board, lectures, and excursions; book in November when the schedule is released as popular courses fill within hours. The Bodleian Library is not one library but several — the Divinity School, Duke Humphrey's Library, the Radcliffe Camera, and the Weston Library — and the best way to see them properly is to book a guided tour well in advance, as they sell out. Blackwell's bookshop on Broad Street is arguably the greatest bookshop in the world — the underground Norrington Room alone has five miles of shelving beneath Trinity College — and Jonathan has never left without spending several hundred pounds. Staff will package books in brown paper and ship them back to the US at reasonable rates. Oxford's literary connections are extraordinary: Lewis Carroll wrote Alice in Wonderland at Christchurch (Alice was the Dean's daughter); Tolkien and C.S. Lewis met with the Inklings at the Eagle and Child every Tuesday through the 1930s and 40s; Philip Pullman set His Dark Materials here; Oscar Wilde studied at Magdalen; and Inspector Morse has made every corner of the city feel like a crime scene. The Eagle and Child — the Inklings' famous pub on St. Giles' Street — has been closed since COVID and is currently being refurbished by new owners. It must reopen as a pub by heritage law, and is expected to reopen either in 2026 or 2027; keep an eye on the show notes link for updates. If you're in Oxford for even one day, you must go to Blenheim Palace — just eight miles away by bus, the only non-royal non-episcopal palace in England, birthplace of Winston Churchill, UNESCO World Heritage Site, and arguably the greatest country house in Britain. A bus from Oxford drops you at the gates. Jonathan's top Oxford hack: stay for at least one night. By 4-5pm the tour buses are gone, Oxford becomes a completely different city, and the cultural life — theatre, bookshop talks, music — begins. Arrive early to beat crowds at the sights, then save the evenings for culture and quieter exploration. Avoid mid-April to mid-June (exam season, colleges restrict access), avoid July if you run hot (medieval stone buildings have no air conditioning and bake in the heat), and buy a fan the moment you arrive if visiting in summer. September and October are ideal months to visit. ⠀ Soundbites "Most of my early memories of Oxford were driving the ring road at midnight with a toddler who would not go to sleep and who would only stop crying if he was in the car. We drove round and around, seeing nothing other than the Mini Cooper plant every time we went past." — Jonathan on his first trip to Oxford in 2012. "Oxford has this warmth to it — that yellow beige Cotswold stone, weathered and warm. And there's this scholarly, bookish vibe from the place that you don't really get anywhere else. It's not just a campus. Oxford University is the town of Oxford." — Jonathan on why Oxford grabs you. "I was immediately spellbound. I loved it immediately. And that's the thing about Oxford — it grabs you once you visit, and you're walking around this beautiful architecture surrounded by deep, deep history. They don't even know exactly how old the university is. It's over 800 years old. When Oxford was founded, the Aztec Empire hadn't even reached its peak." — Jonathan on falling in love with Oxford in 2016. "There were riots. There was full scale urban warfare in Oxford in 1355 — the St. Scholastica's Day riot. 63 scholars and 30 townspeople were killed. As a result, the town was forced to pay annual reparations to the university in a formal ceremony that continued into the Victorian era." — Jonathan on Oxford's violent town vs. gown history. "You basically get to live as an Oxford student for a week. Morning is lectures, afternoon is tours and excursions, evening is formal dinner in the Great Hall. And one night you're invited to high table — suit and tie, port, mingling with the professors. It's a very quintessentially British experience." — Jonathan on the Oxford Experience programme. "I've never gotten out of the Norrington Room without spending several hundred pounds. Let me just say that. Five miles of shelving underground beneath Trinity College. So many books." — Jonathan on Blackwell's legendary underground bookshop. "The Pitt Rivers Museum is like the Victorian cabinet of curiosities. Dimly lit, quiet — maybe people don't even know it's there. Polynesian canoes, samurai outfits, weapons, armour. A strange and wonderful melange of human culture from all over the world." — Jonathan on one of Oxford's most atmospheric museums. "If you're in Oxford and you don't go to Blenheim Palace, you've wasted a trip to Oxford. It's the only non-royal, non-episcopal palace in England. I would argue it's probably the greatest house in Britain. And a bus from Oxford drops you right at the gates." — Jonathan on Blenheim Palace. "By four or five o'clock in the afternoon, the tour buses are gone. And it's just you and the people who live and work and study in Oxford. Oxford becomes a completely different place. That's when the cultural life wakes up." — Jonathan's key Oxford overnight hack. "Scriptum on Turl Street — if you're a bookish type, you will love this place. Beautiful blank books, journals, diaries, fancy pens. I have a beautiful leather book from there with gorgeous cream pages that I cherish so much I haven't written anything in it. I'm afraid to ruin it." — Jonathan on his favourite hidden gem shop in Oxford. ⠀ Chapters 00:00 Introduction — Jonathan sets up the Oxford guide episode and plugs his Oxford guidebook 01:48 Jonathan's Relationship with Oxford — Brideshead Revisited, American universities, and the Oxford DNA in US campus culture 03:30 First Visit: Oxford 2012 — Diamond Jubilee trip, an angry toddler, and the ring road at midnight 06:20 Second Visit: Oxford 2016 — The train from Paddington, the proper day, and falling in love properly 08:42 A Brief History of Oxford — Ford of the Oxen, Alfred the Great, Henry II, 800 years, and the St. Scholastica's Day riot 13:30 The University Explained — 44 colleges, town vs. gown, the founding of Cambridge by Oxford exiles, and Oxford today 16:10 How to Get There — Train from Paddington, Oxford Tube bus, direct from Heathrow, and why not to drive 19:30 Getting Around Oxford — Walking, taxis, park-and-ride pitfalls, and Tolkien's grave 21:10 Day Trip vs. Overnight — Why staying beats leaving, and how Oxford transforms after 4pm 23:40 The Oxford Experience Programme — Christchurch, Worcester College, the Nelson course, high table, and the Enigma course Jonathan wants to do next 33:15 Accommodation Options — Hotels, staying in colleges out of term time, and the Randolph (Inspector Morse's pub) 35:20 The College System Explained — 44 semi-independent colleges, how to apply, porters, scouts, and visiting hours 38:00 Must-See Colleges — Christchurch, Magdalen, Worcester, Merton, Wadham (Brideshead), and the peculiar All Souls 43:00 The Bodleian Library — Five buildings, Duke Humphrey's Library, the Radcliffe Camera, the Divinity School, and why you must book a tour 47:00 Radcliffe Square & St. Mary's Church Tower — The most beautiful urban space in Britain and the best views in Oxford 48:40 The Ashmolean Museum — Britain's first public museum, the Alfred Jewel, Guy Fawkes's lantern, Turner paintings, and it's free 51:00 The Pitt Rivers Museum — Through the Natural History Museum, the shrunken heads, Polynesian canoes, and the Victorian cabinet of curiosities 53:00 Carfax Tower, Oxford Castle & Prison, and the Covered Market — Views, ruins, Brown's Café, and Ben's Cookies 55:30 The Botanic Garden & Broad Street — Riverside walks, the Martyrs' Cross, and the Reformation in Oxford 56:30 Shopping in Oxford — The High Street, Blackwell's, the Norrington Room, OUP Bookshop, Scriptum, The Last Bookshop, and why to skip the Harry Potter tat 01:03:00 Literary Oxford — Lewis Carroll, Tolkien, C.S. Lewis, Oscar Wilde, Philip Pullman, Inspector Morse, and the Eagle and Child update 01:09:00 Harry Potter Oxford — Divinity School, Duke Humphrey's Library, Bodleian courtyard, Christchurch Great Hall, and the new TV series 01:12:00 Day Trips from Oxford — Blenheim Palace, the Cotswolds, Stratford-upon-Avon, Rousham House, Didcot Railway Centre, and Bicester Village 01:18:00 Practical Tips — Book ahead, avoid exam season, avoid July heat, arrive early, save museums for the afternoon, walk everywhere, punt the river, visit Scriptum 01:24:00 Wrap-Up — Oxford rewards time and attention; two days minimum, the Oxford Experience if you can, and a call for listeners to share what they love about Oxford Video Version

Thomas Merton said, "Only the man who has had to face despair is really convinced that he needs mercy." But who wants to face despair? Part of aging is moving away from roller coasters and bungee jumping to seek out serene vacations and the quiet confidence of financial independence. We mitigate against all such risks. But that is precisely Merton's point. The illusion of self-attained security deceives us on something profoundly human. We did not make ourselves. We are contingent. And losing sight of our ongoing neediness distorts how we understand all we have and do. In our passage this week, Amos is pressing that very point with God's people. They have lost sight of God, even as they 'worship' him. And nowhere is it clearer than in their apathy toward any who need mercy. What is so destructive about spiritual complacency? And how can we have a healthy despair that leads to real joy? Let's talk about "Woe to the Complacent!" (Amos 5:18-6:14).

In this episode, we discuss how AI-driven capex is widening the gap between opportunity in equities and risk in credit.The discussion and content provided within this podcast is intended for informational purposes only and may not be appropriate for all investors. Reliance upon information provided in a podcast is at the sole responsibility of the listener. The information included herein is not based on any particularized financial situation, or need, and is not intended to be, and should not be construed as, a forecast, research, investment advice or a recommendation for any specific PIMCO or other security, strategy, product or service. Past performance is not a guarantee of future results. All investments contain risk and may lose value. Investors should speak to their financial advisors regarding the investment mix that may be right for them based on their financial situation and investment objective. Podcasts may involve discussions with non-PIMCO personnel and such content contain the current opinions of the speaker but not necessarily those of PIMCO. Other podcasts may consist of audio recording of an existing PIMCO article and such material contains the current opinions of the manager. The opinions expressed in all podcasts are subject to change without notice. Information contained herein has been obtained from sources believed to be reliable, but not guaranteed. PIMCO as a general matter provides services to qualified institutions, financial intermediaries and institutional investors. This is not an offer to any person in any jurisdiction where unlawful or unauthorized. For additional important information go to www.pimco.com/gbl/en/general/legal-pages/podcast-disclosures

Chris Wright is joined by:Communications Director for Progressive International, former advisor to Jeremy Corbyn, and author of ‘Our Bloc: How We Win' James SchneiderLabour Member of the London Assembly for Merton and Wandsworth since 2016, Leonie CooperHighly acclaimed writer, journalist, and broadcaster Christina Patterson Jean-Monnet Professor of European Integration at the National University of Ireland Maynooth, John O'Brennan    Chris asks the panel whether the current political saga whereby Starmer's leadership is being challenged is a result of external conditions such as a right-wing media, or his own doing. In addition they discuss the lack of a program of wealth distribution, Starmer & Labour's political ‘own goals' since taking office, and the importance of communication. As the conversation develops focus turns to Andy Burnham and the significance of him going for the Labour leadership.Chapters00:00 The Political Landscape in the UK04:54 Challenges of Modern Governance09:27 Inequality and Economic Instability14:20 The Role of Communication in Politics19:07 Labour Party's Positioning and Strategy23:54 Global Issues and Domestic Politics28:16 Future Directions for the Labour Party34:29 Local Initiatives and Regional Politics37:49 The Brexit Dilemma39:59 Emotional Politics and Public Sentiment47:27 Inequality and Political Choices53:29 The Makerfield By-Election: A Crucial Battle01:04:21 Future of Labour Leadership'I Hit The Nail Right On The Head' by Billy Bremner. © Fridens liljor/Micke Finell.Rock around the clock productions AB.www.rockaroundtheclock.co This episode was produced by Sound SapienSoundsapien.com

A desperate young executive discovers that his office safe has become a doorway to the future, and every exchange leaves him richer than before. But when impossible money starts circulating through New York banks, Peter Merton realizes the people on the other side may not care what happens to him once their experiment is finished. Peter Merton's Private Mint by Harlan Ellison. That's next on The Lost Sci-Fi Podcast.You can never have enough Harlan Ellison. Unfortunately, very few of his stories have entered the public domain, and after today's episode there is only one more Ellison story left for us to feature. You'll hear that final story in the coming weeks.If you went searching for a Harlan Ellison story in the October 1956 issue of Fantastic, you wouldn't find one. Unless, of course, you knew that Ellison sometimes used the pen name Lee Archer. Open your copy of Fantastic to page 74, Peter Merton's Private Mint by Harlan Ellison…Next on The Lost Sci-Fi Podcast, A lonely wanderer escapes years of darkness and silence only to find that the world beyond his refuge recoils from him in terror. Every step toward warmth and companionship pulls him closer to a revelation that no living soul could endure unchanged. The Outsider by H. P. Lovecraft.

Vieni stebėtojai teigia, kad Vengrijos Bažnyčia „visiškai neturi viešosios kultūros“, todėl nėra galimybių diskutuoti apie konkuruojančias idėjas ir nesutarimus, kitų nuomone, skirtingai nei ankstesnių rinkimų metu, oficialus Bažnyčios tylėjimas per šią rinkimų kampaniją galėtų būti interpretuojamas kaip „kritika Orbáno politiniam stiliui“. Plačiau - vedamojo skiltyje.Velykiniame „Artumos“ numeryje – gyvybės temos ir pastangos išsaugoti krikščioniškus gimdymo namus. Dalyvauja vyriausiasis redaktorius Darius Chmieliauskas.Spaudos apžvalga: popiežiaus Leono XIV-ojo kritikos JAV administracijai analizė vokiečių katalikų žiniasklaidoje (parengė Giedrius Tamaševičius).„Krikščioniškos minties puslapis“: Tim Shriver „Thomas Mertonas ir religijos ateitis“.Kun. Mozės Mitkevičiaus pasakojimas apie tai, kokie prisikėlimo simboliai ir personažai iš Senojo Testamento buvo pasitelkiami ankstyvosios Bažnyčios, kol dar nebuvo žinoma nė viena Evangelija.Lauros Sintijos Černiauskaitės radijo apybraiža „Pinčiuko prisilietimas“.Redaktoriai Rūta Tumėnaitė ir Julius Sasnauskas.

Another very important guest on The Bull. In what he calls his few seconds of fame, after publishing an article that made his name known worldwide in the finance world, James Choi tells us about the differences between study and application in the academic universe versus personal finance. In this episode, we talk about the crucial role of stocks in a portfolio, Merton's formula, and some mental experiments we can adopt to better understand our goals and risk tolerance. Produced by Corax.

Un altro ospite importantissimo a The Bull. In quelli che definisce i suoi pochi secondi di gloria, dopo la pubblicazione di un articolo che ha fatto conoscere il suo nome in tutto il mondo della finanza James Choi ci racconta le differenze di studio e applicazione tra l'universo accademico e quello personale. In questo episodio parliamo dell'importantissimo ruolo delle azioni in portafoglio, della formula di Merton e di quelli che sono alcuni esperimenti mentali che possiamo adottare per capire meglio i nostri obiettivi e la nostra propensione al rischio. Una produzione Corax.

What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Confronta e Risparmia con ⁠⁠⁠Facile.it⁠⁠⁠ #adv Quanta parte del tuo portafoglio dovrebbe stare in azioni? È la decisione più importante di tutte nella finanza personale. Non i singoli titoli, non il timing di mercato: l'asset allocation. In questo episodio partiamo dalla teoria classica di Merton e arriviamo a una nuova formula sviluppata da James Choi (Yale) che prova a risolvere uno dei problemi più difficili per ogni investitore: quanto investire davvero in azioni durante la vita. Il punto chiave? Non devi guardare solo il tuo patrimonio finanziario. Devi considerare anche il capitale umano: il valore attuale dei redditi che guadagnerai in futuro. Ed è proprio questo che cambia completamente la risposta alla domanda: quanta quota azionaria dovresti avere davvero in portafoglio. Scarica il paper: https://spinup-000d1a-wp-offload-media.s3.amazonaws.com/faculty/wp-content/uploads/sites/27/2025/08/practicalfinance.pdf  Compila il Google Sheet di Choi: https://docs.google.com/spreadsheets/d/1hOGRYq3gGiJi3K2Nc3TaJy_iRf3Vj_7n/copy  Leggi il Google Doc di Choi con tutte le istruzioni per compilare il file: https://docs.google.com/document/d/1hykGDl6ZHJmDJmIJ706nErIKg5gWeoTxagnEvpWmuwA/edit?usp=sharing  Una produzione Corax.

For Christian mystic Thomas Merton, the sacred and the profane were continuous: all was alive with divine presence. Stands of redwoods were his cathedral, the sky, birds, and wind were his prayers, and the silence of the forest his lover. This week, we return to an essay by Fred Bahnson, who follows Merton's 1968 pilgrimage to the American West as he travels to Redwoods Monastery and Christ in the Desert Monastery. Guided by Merton's contemplation and seeking the same solitude, Fred discovers anew the ways God runs through both land and heart.Read the essay.Watch the companion film by Jeremy Seifert.Photo by Thomas Merton.

In this episode, we welcome back James Choi, Professor of Finance at the Yale School of Management, to unpack one of the most important—and misunderstood—questions in personal finance: How much of your portfolio should be in stocks? Drawing on his new paper, Practical Finance: An Approximate Solution to Lifecycle Portfolio Choice, James walks us through the classic portfolio choice problem first solved by Robert C. Merton, later extended by Francisco Gomes and co-authors, and now made dramatically more usable through a spreadsheet-based approximation. We explore how risk aversion, wealth, labor income risk, and expected returns shape optimal asset allocation, why simple rules like "100 minus your age" aren't terrible but still costly, and how James and his co-authors managed to approximate a complex dynamic optimization model with an error of less than 0.1% in lifetime welfare.   Key Points From This Episode: (0:04) Introduction and why this episode delivers on "mathy roots." (1:10) James Choi's new paper: Making lifecycle portfolio choice solvable in a spreadsheet. (5:15) The portfolio choice problem: How much should you allocate to stocks versus risk-free assets? (6:09) The classic Merton (1969, 1971) solution and the "Merton share." (8:00) The equity premium formula: Expected excess return ÷ (risk aversion × variance). (11:20) Extending the model to risky labor income (Cocco, Gomes, and Maenhout). (14:27) Why labor income behaves bond-like—even when it's risky. (16:33) How wealth, risk aversion, and labor income characteristics affect optimal equity allocation. (20:52) Transitory vs. permanent labor income risk—and why permanent risk matters more. (23:04) Solving thousands of parameter sets to approximate optimal lifecycle allocations. (27:09) How close is the approximation? ~3–4 percentage points on average, with

In this two-part episode, we discuss incentives in science and academia. We discuss the various incentives in science, including recognition, citations, money, and the kick in the discovery.   Shownotes Cole, S., & Cole, J. R. (1967). Scientific output and recognition: a study in the operation of the reward system in science. American Sociological Review, 377–390. Crane, D. (1965). Scientists at major and minor universities: A study of productivity and recognition. American Sociological Review, 699–714. Merton, R. K. (1963). Resistance to the systematic study of multiple discoveries in science. European Journal of Sociology/Archives Européennes de Sociologie, 4(2), 237–282. Stephan, P. (2015). How economics shapes science. Harvard University Press. Tal Yarkoni - No, it's not The Incentives—it's you Tom Leher - Lobachevsky (1953)  

With early exposure to Paul Tudor Jones and then stints on the sell-side in credit research, Michael Contopoulos is now Deputy CIO of Richard Bernstein Advisors, a macro-oriented asset manager overseeing roughly $20 billion across long-only portfolios. Our discussion centers on portfolio construction in an era of extreme equity concentration and shifting global leadership.On the equity side, the firm is under-weight the most concentrated segments of U.S. equities and overweight international markets, citing valuation gaps, earnings acceleration abroad, and under-ownership by investors.Using his background in quantitative credit strategy and a Merton framework for modeling  spread risk, Michael brings a structural lens to today's corporate debt markets. Our conversation focuses on the surge in long-dated issuance tied to AI infrastructure build-outs. He argues that history rarely rewards lenders who finance capital-intensive growth booms at their peak.Drawing parallels to late-1990s telecom boom, Michael questions whether investors are being adequately compensated for duration and technology risk embedded in 40- and 50-year debt issued by hyperscalers building data centers. The core concern is twofold: that AI-driven revenue gains may not justify the scale of investment, and that infrastructure built today may not remain technologically relevant decades from now.I hope you enjoy this episode of the Alpha Exchange, my conversation with Michael Contopoulos.Editing and post-production work for this episode was provided by The Podcast Consultant (⁠https://thepodcastconsultant.com⁠)

Thomas Merton (1915–1968) was a Trappist monk, bestselling author, and mystic whose life bridged cloistered silence and global controversy. From a restless, scandal-marked youth to a dramatic conversion and controversial activism. Merton sought hiddenness yet became one of the most influential Christian voices of the twentieth century.If you would like to order a copy of Dr. Carlos Eire's latest book, "They Flew: A History of the Impossible," you can order a copy HERE (Yale University Press) or HERE (Amazon).If you have any questions, you can email us at christianmysticismpodcast@gmail.com. Your question and the answer may appear in a future episode of the podcast.You can visit our podcast website HERE. Hosted on Acast. See acast.com/privacy for more information.

In this two-part episode, we discuss incentives in science and academia. We discuss the various incentives in science, including recognition, citations, money, and the kick in the discovery.   Shownotes Cole, S., & Cole, J. R. (1967). Scientific output and recognition: a study in the operation of the reward system in science. American Sociological Review, 377–390. Crane, D. (1965). Scientists at major and minor universities: A study of productivity and recognition. American Sociological Review, 699–714. Merton, R. K. (1963). Resistance to the systematic study of multiple discoveries in science. European Journal of Sociology/Archives Européennes de Sociologie, 4(2), 237–282. Stephan, P. (2015). How economics shapes science. Harvard University Press.  

In episode 3 - 1.What is the Functionalist view of crime and devIance2. How can crime be positive for society3. how can individuals use crime to benefit themselvesYou can also book private online tutoring at www.calendly.com/sociologyshowtutoring 

As the new year gets rolling, I've been trying to make room for what I call “the soul.” To me, this means being more receptive to those mysterious synchronicities, insights, and feelings so easily missed when I keep myself busy and distracted. Sometimes this energy comes from within, and sometimes it's a “postcard from God,” as Walt Whitman would say.Bernie With His Plough & The Great Horned OwlIt could be a lyric that aligns with something on my mind. The other day, I heard Elton John sing the lyric about the howling old owl in the woods (from “Goodbye Yellow Brick Road”). Though I've heard the line many times before, this time was different. Recently, each night when I take my dog out, I hear the haunting sound of a great horned owl in the woods behind my house.But what do I do with that synchronicity? Is it the owl itself - a symbol of wisdom, intuition, mystery, and the ability to see beyond illusion- that I should listen to? Maybe it's the lyric Bernie Taupin wrote for Elton about a desire to leave the superficial ego-driven world behind and return to a more grounded life - a more authentic self. Bernie was ready to leave the yellow brick road of striving for success. He wanted to go back to his plough and back to the howling old owl in the woods.Maybe it's both - the haunting sound of the owl and a longing to return “home.” Maybe the owl's saying, “Leave me alone already and just honor the mystery.” Maybe Bernie is telling me he'd love my simple, quiet life in rural Kentucky, a life that at times doesn't feel full enough.Contemplating Solitude With MertonA couple of days ago, while doing Qigong (meditative movements similar to Tai Chi), I wondered if there is a place nearby where people gather and move in these gentle ways. The first place that came to mind was the Abbey of Gethsemani, which is not far from here. Finding a group of monks, at least Trappist monks, doing Qigong, would be quite unlikely. Maybe if Merton were still around.Gethsemani was made famous by Thomas Merton, an influential spiritual writer and Trappist monk who lived at the monastery for 27 years. Four of those years, he spent mainly in his hermitage - a secluded cabin in the woods. “Not all of us are called to be hermits, but all of us need enough silence and solitude in our lives to enable the deeper voice of our own self to be heard at least occasionally.” - Thomas MertonBefore entering the Abbey at 26, Merton was worldly, raucous, and rebellious. Like Bernie and many of us, he struggled with the tension between a simple, humble life and a desire to engage with and influence the outside world.While at Gethsemani, Merton wrote over 70 books about contemplation, prayer, Eastern religions, interfaith dialogue and social justice, including his famous autobiography, “Seven Story Mountain.”What do I do with that? Merton did all of that while living a quiet life right here in my neck of the woods. Hmmmmmm….Reclaiming That Girl That Used to Be MineSometimes the soul provides a shift in how we think about ourselves and our lives. Sometimes, however, a postcard cuts right through all the analysis and goes straight to the heart.Yesterday, I saw a video reel of Sara Bareilles and Rufus Wainwright singing, “She Used to Be Mine.” Though I'd heard parts of this song before, I never stopped long enough to listen. Last night, with my reclaimed intention of receptivity, I did. Instead of landing on some great insight, I found myself in tears. Quickly, I pulled myself out, before sliding right back into those tears, tears that I realized I was grateful could still flow.When was the last time I cried? And why was I crying? And, why were so many of the people in the audience crying? The song is about losing one's self, and losing the connection to the child we once were - a universal loss that can make some of us ache, even at the age of 58, when we think we've done such a brilliant job of putting all of those parts of ourselves back together.Though no longer recognizing herself, she still remembers the girl she used to be. She sings with tenderness about that girl's imperfection, effort, goodness, and self-reliance. She questions what life would have been like if she could rewrite the ending for that girl.Sara Bareilles wrote this song for the 2016 Broadway musical, “Waitress.” The lead character sings it at the end of the second act when she has hit rock bottom. She is lost and struggling to remember who she is. Through the song, she mourns the loss of herself before starting to gain footing and for a moment taps into the strength and grit of that child she starts to reclaim.The story isn't over. We all have an opportunity to write the next act and to extend unconditional affection for the child that she describes as messy, but kind, lonely most of the time, but more, she is all of this “mixed up,” and “baked in a beautiful pie.”Why Here & Now?My long-held hope in sharing information online has been to balance the mind and spirit (the right and left brain). In recent times, I've leaned into the left-brain science. That's what people tend to read or listen to. That's what people need and can't easily find elsewhere. I'd forgotten, however, that expressing myself from my heart is something that I need. It is who I am. My own health and healing required much more than scientific information. It would be dishonest to only share part of that story.Even as a child, writing was my lifeline. It helped me find my place in the world. It gave me peace. That child wouldn't need to make sense of why the owl speaks to me at night. Or, why Bernie showed up with a plough in hand. Or, why Merton put down his pen and stepped out of his cabin to greet me in the woods. Or, even why Sarah, dressed as a waitress, crossed my path while singing a song I'd be sure was written just for me.But, I'm not only that child. I'm all grown up and can't help but wonder why these particular energies showed up now, beyond the fact that I created some space for them to do so? What would they have me know? I think, to embrace paradox and to remember that we are physical beings of this world, and also spiritual beings who transcend it. We need connection, and we need solitude. We are adults shaped by a lifetime of experience, and still vulnerable children filled with wonder and sometimes hurt. We are light, and we are shadow. And as Sara would say, we are all of this “mixed up and baked in a big beautiful pie.”Wishing you wholeness as you make your way through this year,CourtneyTo learn more about my discovery calls, non-patient consultations, or mentoring, please visit my website at:CourtneySnyderMD.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit courtneysnydermd.substack.com/subscribe

After many requests, Dr. Carlos Eire shares a reading list with our listeners.Great classic introductions:Evelyn Underhill, Mysticism: A foundational, comprehensive survey of the mystical path. The Cambridge Companion to Christian Mysticism, edited by Amy Hollywood & Patricia Beckman): An excellent collection of essays Understanding Mysticism, ed. Richard Woods: Excellent essays of all the foundational scholarly interpreters of mysticism. Including the following: David Knowles, “What Is Mysticism?”Louis Bouyer, “Mysticism: An Essay on the History of the Word”Margaret Smith, “The Nature and Meaning of Mysticism"Evelyn Underhill, “The Essentials of Mysticism”Edward Howells: "Mysticism and the Mystical: The Current Debate" R. C. Zaehner, Mysticism Sacred and Profane: an Inquiry Into Some Varieties of Praeternatural Experience: A classicMore recent introductionsStephen Clarke, From Athens to Jerusalem: The Love of Wisdom and the Love of GodOlivier Clément, The Roots of Christian Mysticism John Macquarrie, Two Worlds Are Ours: An Introduction to Christian MysticismCarl McColman, The New Big Book of Christian Mysticism: An Essential Guide to Contemplative Spirituality Great historical - analytical surveys:Louis Bouyer, et. al., A History of Christian Spirituality, 3 volumes: an older classic surveyVol. 1 The Spirituality of the New Testament and the FathersVol. 2 The Spirituality of the Middle AgesVol. 3 Orthodox Spirituality and Protestant and Anglican Spirituality Bernard McGinn, The Presence of God: A History of Western Christian Mysticism:A monumental multi-volume series that explores the development of mysticism across different historical periods and theological contexts. Vol. 1 The Foundations of Mysticism: Origins to the Fifth CenturyVol. 2 The Growth of Mysticism: Gregory the Great Through the 12 CenturyVol. 3 The Flowering of Mysticism: Men and Women in the New Mysticism: 1200-1350Vol. 4 The Harvest of Mysticism in Medieval Germany: 1300-1500Vol. 5 The Varieties of Vernacular Mysticism: 1350–1550Vol. 6.1 Mysticism in the Reformation: 1500-1650Vol. 6.2 Mysticism in the Golden Age of Spain: 1500-1650Vol. 6.3 The Persistence of Mysticism in Catholic Europe 1500-1675Vol. 7 The Crisis of Mysticism: Quietism in Seventeenth-Century Spain, Italy, and France Bernard McGinn, Modern Mystics: An Introduction (not part of the Presence of God series, but a an essential complement to all of its volumes)Short surveys Harvey Egan, Introduction to Christian MysticismSteven Fanning, Mystics of the Christian TraditionWilliam Harmless, MysticsRichard Rohr, The Naked Now: Learning to See as the Mystics SeeFocus on the corporeal dimension of mysticism:Montague Summers, The Physical Phenomena of MysticismHerbert Thurston, The Physical Phenomena of MysticismFocus on Practice:The Practice of the Presence of God by Brother Lawrence of the ResurrectionThomas Keating, Open Mind, Open HeartMartin Laird, Into the Silent Land: A Guide to the Practice of Contemplation An Ocean of Light: Contemplation, Transformation, and Liberation A Sunlit Absence: Silence, Awareness, and ContemplationThomas Merton, New Seeds of Contemplation Contemplative Prayer Anthologies of Christian mystical texts:The Essential Writings of Christian Mysticism, edited by Bernard McGinnChristian Spirituality: The Classics, edited by Arthur HolderLight from Light: An Anthology of Christian Mysticism, edited by Louis DupréSuggestions for approaching the subject graduallyFirst step: Read a brief modern guide like that of Harmless or Fanning to get context before diving into the mystical texts. Second step: Dive into short excerpts from mystical texts in an anthology such as those listed above Third step: Pair theoretical texts (like Underhill) with devotional texts (like Brother Lawrence or Merton) and entire mystical texts (like the Cloud of Unknowing or The Interior Castle). Fourth step: Dive into the great surveys (like McGinn), and explore mystical texts from different eras and traditions. Hosted on Acast. See acast.com/privacy for more information.

In 2019, I interviewed Hugh Turley about the book he wrote with his co-author, David Martin, "The Martyrdom of Thomas Merton: An Investigation." In 2023, Turkey and Martin published a follow-up: "Thomas Merton's Betrayers: The Case Against Abbot James Fox and author John Howard Griffin." Mr. Turley is back to tell us about the latest book and to give us some updates on the latest news about the investigation, new artistic ventures thalami to bring the story of Merton's death to light, and a possible cause for canonization. Find the first CAM interview with Hugh here: https://youtu.be/ImdRuSg3dJk?si=BAQJj6OwVSlljbhVFind Hugh here:http://www.themartyrdomofthomasmerton.comFind "Thomas Merton's Betrayers" here:https://www.amazon.com/Thomas-Mertons-Betrayers-against-Griffin/dp/0967352169Buy your CAM "Infallible Jesus" t-shirt here:https://catholics-against-militarism.checkoutstores.comFind CAM here:  https://catholicsagainstmilitarism.comRSS feed: http://www.buzzsprout.com/296171​Rumble: https://rumble.com/c/CAMpodcastFind CAM here: https://catholicsagainstmilitarism.comRSS feed: http://www.buzzsprout.com/296171​Rumble: https://rumble.com/c/CAMpodcast

How do you take a natural product or CPG brand from startup to retail scale-up success? In this episode of the Unified Brand Podcast, we're joined by Jane Merton, MBA, founder of All Our Advisors, a seasoned strategist with decades of experience helping natural and organic brands scale into national food, drug, and mass market retailers across North America.Jane dives into essential brand alignment strategies, retail readiness, go-to-market planning, and how to avoid the biggest mistakes when growing a brand. From positioning and packaging to operations and in-store velocity, this episode covers:How to align your brand for retail successCommon mistakes founders make when scalingWhat buyers really want and how to say "no" strategicallyThe importance of brand consistency and core valuesTrends in TikTok live selling, retail media, and creator partnershipsPackaging that pops and converts on shelfHow to build a retail marketing launch calendarThis episode is packed with strategic insights for founders, marketers, and operators in the CPG and DTC spaces. Whether you're preparing for your first pitch or navigating scale, Jane's advice is pure gold.Jane Merton, MBALinkedIn: https://www.linkedin.com/in/janemerton/Website (All Our Advisors): https://www.allouradvisors.com-----------------

Akademik başarı yalnızca bireysel çabayla mı ilgilidir, yoksa sistemin görünmeyen adaletsizlikleriyle mi? Bu bölümde DEHB'li bireylerin eğitim yaşamındaki zorluklarını, Merton'ın […]

Danny Glaze IS BACK! The mighty Karl Collins (DC Danny Glaze) makes his debut on The Bill Podcast alongside his good friend and returning legend Chris Simmons (DC Mickey Webb) In Part 1 of a two-part special, Chris shares his thoughts on Sally Rogers' 2022 play "The Still Room", and discusses his work as a director on his movie "The Broken Arrow", in which Karl appears alongside other Sun Hill luminaries. Karl then discusses how his career began before both of these CID heroes begin to look back on their time at Merton.  With Patrick Stratford at the helm, you know you are in for a cracker so sit back, relax and enjoy. The Bill Podcast is brought to you in proud association with georgefairbrother.com shop.saturdaymorningpress.co.uk vanguardcomics.co.uk gibconsultancy.co.uk mcr-seo.com and introducing donspillane.com Don Spillane was born, raised, and educated on the South Coast of England. In the 1960s and 1970s he served as a young detective with London's Scotland Yard working Jack the Ripper's old territory, Whitechapel and Bethnal Green. While assisting in the investigation of murders, armed robberies, and other criminal activity, he benefitted from the experience of senior colleagues who arrested culprits for such crimes as the Great Train and Bank of America robberies. His backup was the Yard's famed “Flying Squad” when he zeroed in for the final arrest of his career, a contract killer. Recently, he's found a new and rewarding life writing and creating thrilling novels based on his first-hand encounters with the sordid and unsavory denizens of the underworld. The opening of the podcast features a special promo, narrated by The Bill legend Natalie Roles, for Don's debut novel "Hustling The Mob" - What's the difference between robbing a bank and robbing a Mafia bank? Sarah and Joshua are about to find out. Joshua is a world class hacker and his partner, the alluring Sarah, is a master safe cracker who make their living pillaging other criminal's bank accounts. An attempted assassination puts them on the run. In return for help from a middle Eastern spy chief, they're tasked with disrupting an arms deal being negotiated by a crooked banker in the Cayman Islands. This same banker launders money for his main client, a New Jersey mafia boss. A huge pot of money proves too big a temptation and, in this international absorbing crime thriller, Sarah and Joshua must outsmart a growing list of bad guys. "Hustling the Mob" is available on Kindle and paperback from Amazon - https://www.amazon.co.uk/Hustling-Mob-Mafia-Malware-Murder/dp/0990328376/

Join Dr. Mark C Meade for a discussion regarding the importance of  The Seven Storey Mountain by Thomas Merton. Mark C. Meade is the Assistant Director of the Thomas Merton Center at Bellarmine University. In over 20 years at the Center as an archivist, he has assisted scholars from around the world while himself presenting and publishing internationally on Merton's writings. Mark served as the sixteenth president of the International Thomas Merton Society. His scholarship has focused on Merton's autobiography and dialogue with the writings of Victoria Ocampo, Albert Camus, and Flannery O'Connor. About the podcast: We all know we need to read more and there are literally millions of books on shelves with new ones printed every day. How do we sort through all the possibilities to find the book that is just right for us now? Well, the McConnell Center is bringing authors and experts to inspire us to read impactful and entertaining books that might be on our shelves or in our e-readers, but which we haven't yet picked up. We hope you learn a lot in the following podcast and we hope you might be inspired to pick up one or more of the books we are highlighting this year at the University of Louisville's McConnell Center. Stay Connected Visit us at McConnellcenter.org Subscribe to our newsletter  Facebook: @mcconnellcenter Instagram: @ulmcenter  Twitter: @ULmCenter This podcast is a production of the McConnell Center 

Elaine Heath is the abbess of Spring Forest, a new monastic community in Hillsborough, North Carolina. Spring Forest centers around communal prayer and meals, a vibrant farm, refugee support, and other ministries you can read about here. You can learn more about Elaine's work as an author and speaker on her website, or in articles like this one from the Center for Action and Contemplation.Many thanks to Elaine and her husband Randall for welcoming Ron and I and our audio producer, Colin, to the farm last June. Besides relishing the good company of our hosts, we enjoyed harvesting cabbage, feasting and praying with the Sunday evening group, walking through the woods, and petting some good-natured goats.Dr. Elaine HeathOn the farm.Someone had to help harvest the cabbage, so Ron and Colin and I pitched in.Elaine, husband Randall, and I in their lovely home.TRANSCRIPTElaine Heath If you are nurtured by traditional church—or let's say, conventional church—keep doing it, but also realize that for other people that's not nurturing. It feels dry and lifeless, and it's clear the Spirit is doing something new. So instead of insisting everybody stop doing the new thing, and everybody has to come and do the conventional thing, you can be conventional in your worship and bless and make space for others so that we have a plethora of experiments going on.Debra Rienstra Welcome to the Refugia Podcast. I'm your host, Professor Debra Rienstra. Refugia are habitats in nature where life endures in times of crisis. We're exploring the concept of refugia as a metaphor, discovering how people of faith can become people of refugia: nurturing life-giving spaces in the earth, in our human cultural systems, and in our spiritual communities, even in this time of severe disturbance. This season, we're paying special attention to churches and Christian communities who have figured out how to address the climate crisis together as an essential aspect of their discipleship.Today, I'm excited to introduce you to Dr. Elaine Heath. Elaine is founder and abbess of Spring Forest, a new monastic community centered on a 23-acre forest and farm property near Hillsboro, North Carolina. The farm supplies a CSA and supports food security for refugees and serves as the setting for outdoor programs for kids, cooking classes, potlucks, forest walks and more. But the Spring Forest community is a dispersed network of people who move in and out of the farm space in a variety of ways. They live on the farm for a time, they visit often to volunteer, or they simply join the community online for daily prayer. We got to visit the farm last spring, and I can tell you that Elaine's long experience with new monasticism, trauma-informed care, and contemplative practice make her an ideal curator of refugia space. The vibe on the farm is peaceful, orderly, and full of life. It's a place of holy experimentation in new ways to form Christian community and reconnect with the land. Let's get to it.Debra Rienstra Elaine, thank you for talking with me today. It's really great to be with you.Elaine Heath Yeah, I'm glad to be with you too.Debra Rienstra So you served in traditional parish ministry and in religious academia for many years, and then in 2018 you retired from that work to found Spring Forest. Why a farm and a new monastic community? What inspired and influenced this particular expression of faith?Elaine Heath I've always loved farms and forests. But actually, my dream to do this started about 25 years ago, and my husband and I bought a 23 acre property in North Central Ohio, right when I was right out of my PhD program and I got my first academic job at my alma mater, which is Ashland Theological Seminary. So I went there to direct the Doctor of Ministry program, and we bought this beautiful property. It had a little house that looked like the ranger station, and it had a stream and a big labyrinth cut in the field, and it had beautiful soil to grow, you know, for market gardening. And what we planned to do was gradually develop retreat ministries there. My husband was going to build some hermitages up in the woods, because I did a lot of spiritual direction with pastors who were burned out and traumatized, and we felt like that, you know, as I got older and phased out of academia, that would be something we could do together.So we were there for a couple years, and then I was recruited to go to Perkins School of Theology at Southern Methodist University. And we were very sad to leave our property behind, but we were clear that we were being called to Texas. So we bought a home in the city in a sort of mixed income, racially diverse neighborhood in Garland, and it was a big house with a nice yard, and soon after starting to teach evangelism—which, I kind of created my own path for how to teach evangelism, because I don't believe in selling Jesus or any of those kinds of colonizing things. So I was teaching about living a contemplative life and practicing social and environmental justice and being good news in the world, and being good neighbors to all our neighbors, and thinking of our neighbors as us and not them. And I had them reading Shane Claiborne and the people writing with the emerging church movement at the time, and pretty soon, I had students in my class coming to my office every week. It was a different student, but the same tears and the same kind of narrative: “Dr. Heath, I think I'm going to have to leave the church to answer my call. Tell me what I should do.” And it was because they were being called to do innovative, new monastic ministry, missional, new monastic kinds of things. But our denomination in particular didn't quite get it, even though early Methodism was very much like that.So I realized fairly quickly that this was God calling me through these students to focus my research and writing and my teaching in the area of emergence. Emergence theory, what's happening in the world. How do these currents of emergence intersect with what's happening politically and environmentally, and what's happening, you know, in the economy and with the church. So pretty soon, I don't know, it wasn't very long, I felt God was calling me to gather students and start some experiments outside, out in the city. And so I had a prayer partner, and we were praying for a house to come available, so that we could start a new monastic house. And she came to me one day and she said, “I saw the house coming. It'll be here soon.” And I said, “Okay.” I had no money for a house. You know, kind of a lowly professor, didn't make that much. And within two weeks, one of our neighbors came to me, who didn't really know me well at all, and said, “Hey, my mom has a rental property. It's been in our family for a long time, and we wondered if you might have some students that would like to live there. We won't even charge rent, just pay their utilities and not have drug parties or whatnot.” And I said, “No, that's unlikely,” you know. So I said, you know, I could throw the phone down and ran down to get in her car and go over to this house with her. And we were driving over, and she says, “You know, it's not the best neighborhood.” I said, “Perfect!” But we got there, and it was a really great little three bedroom house in a predominantly Latina neighborhood, and that was our first new monastic house. So I asked three of the students who'd been crying in my office, “Would you be willing to break your leases wherever you live and come and live here for a year?” And I can assign a spiritual director to work with you, and I can write a curriculum for an independent study on the theory and practice of new monasticism. And we can develop a Rule of Life based on our United Methodist membership vows. And they all immediately said yes, and so that's how we got started with our first house.Elaine Heath And then right around the same time, I started a missional house church that was quickly relocated into the neighborhood where most of the refugees are resettled in Dallas, because one of my students brought six Congolese men to our little house church worship, and that that was the beginning of realizing we were called to work with refugees.Debra Rienstra Oh, I see.Elaine Heath So that all got started around 2008. And by 2009, there was a student who came to Perkins who had been a commercial real estate banker on Wall Street. And he came to Perkins as a student. He was an older man. And we were going on my very first pilgrimage to Iona, Northumbria, and Lindisfarne, and Michael Hahn was with us too. He and I team-taught this class, so it was my first one. But it turned out that Larry Duggins, the student, had come to seminary because he really wanted to be equipped to help young adults who were feeling disillusioned with the church but wanted to be out in the world doing good work. And he started describing what he was called to, and I'm like, “Well, that's what I'm doing with these students.” So we joined forces and created a nonprofit called Missional Wisdom Foundation, and within three years, we had a network of eight new monastic communities across the metroplex. They were all anchored at local churches. Some of them were parsonages that weren't being used. And we wove into the expectations and sort of the lifestyle of those houses, urban agriculture.Debra Rienstra Oh, I was waiting for the farm to come back into it. Yeah, because I'm seeing these threads of experimentation and monasticism and place. We're sitting here today on your current farm land. So it's really interesting to hear all these threads being developed early on in an urban context.Elaine Heath Yes, it was quite something. These houses were all in different social contexts. There was one house, the Bonhoeffer house, that was in East Dallas, in a neighborhood that was not only mixed income and racially diverse, but also used to be where the mayor lived. And now there are people who are unhoused living there, and there are also people with nice houses living there. So it was a very interesting neighborhood. So that house, we learned quickly that you needed to take a year to get to know the neighborhood before you try to figure out how you're going to support whatever justice work needs to happen in the neighborhood. But that house got really close with the unhoused community and did a lot of good ministry with the guys and a few women. Then there was one for undocumented workers, the Romero House, and just different social contexts. But all of them had a backyard garden or, you know, some type of growing food kind of thing. And I used to take students to this farm that was an urban farm in DeSoto, which is just south of Dallas, where it was quite small, but these were former missionaries, the type that have crusades and show the Jesus film and everything in sort of poor countries. And then they had an awakening that happened, and they realized they were being called to help people in orphanages learn how to grow their own food in a sustainable way and raise the living standard for the whole village. So they had this little farm, and I would take students there every semester to experience the conversion of thought that this couple had over what mission is, and to experience the beauty and joy of tilapia that provide food for the lettuce, that provide for the bees, you know. So this closed system. So that also affected my imagination about what I really wanted to do in the future.And so gradually, the years—we were there for 11 years, and we lived in community the whole time that we were there. By the time we came here for me to work at Duke, we had a very clear picture of what we wanted to do here. And so we looked for the property back when we had to sell that first farm, when we were so sad about selling it, I had an experience in prayer where I sensed God was saying to me, “Don't give up on this dream. It's sacred, and it will happen in the future on a better piece of property, at a better time in your life for this.” And so when it was time to move here, I said to Randall, “This is the time. Let's look for that property.” So that's how we landed here.Friendly, very contented dairy goats, hanging out in the afternoon.Debra Rienstra Yeah. When talking about your students, you mentioned yesterday that you like to “ruin them for fake church.” So what do you mean by fake church, and how exactly do you ruin them for it?Elaine Heath Well, you know, church is really the people and not the building. You all know that. It's the people and we're called to be a very different kind of people who are a healing community, that neighbor well, that give ourselves away, that regard our neighbors—human and non human—as part of us, whether they think they're part of us or not. We have this sort of posture in life. And when I think of how Jesus formed the church, Jesus had this little ragtag group of friends, and they traveled around and did stuff and talked about it, and they got mad at each other and had power struggles and drama and, you know, and then Jesus would process the drama with them. And he would do these outrageous things, you know, breaking sort of cultural taboo to demonstrate: this is what love really looks like. And so we don't get to do much of any of that, sitting in a pew on Sunday morning, facing forward while the people up in the front do things. And so many churches—maybe you've never experienced this, but I certainly have. The pastor's sort of the proxy disciple while people kind of watch and make judgments and decide whether or not they want to keep listening to those sermons.Debra Rienstra Oh yes.Elaine Heath So when you experience Christian life in a community where it's both natural, it's just the way you live in the world, and it's also liturgically rich, and the life is a contemplative life, and it's also a life of deep missional engagement with the world— that other version of church, it's like oatmeal with no flavoring in it. It makes you, I mean, it's about the life together. It's how we live in this world. It's not about sitting somewhere for an hour once a week and staring forward.Debra Rienstra Right. Yeah, so I would, you know, of course, I would describe what you're describing as refugia, being the people of refugia. You know? Not that I'm—we'll come back to traditional worship and traditional forms of faith and religion. But it seems like what you're doing is living into something you say on your website that we are in the midst of a new reformation in the church, and I certainly sense that too. I think the evidence is all around us, and the research bears out that we've reached this inflection point, and it's a painful inflection point that a lot of people think of as decline, because living through it feels confusing and bewildering and dark and full of loss. So what is your sense of when we are, in this point in history, in particular, for those of us who've been part of church communities, where are we finding ourselves? Why is it so confusing?Elaine Heath I really believe we're in a dark night of the soul as the church in the West and perhaps places in the East too. I know we've exported a capitalist version of church all over the world, sadly. But I believe we're in a dark night of the soul, you know, classically understood, where it's spirit-breathed. It's not that the devil is doing something to us. It's spirit-breathed to detach us from our sort of corporate ego that thinks we get to show up and boss the world around and act like we own the joint.Debra Rienstra We call that church of empire.Elaine Heath Yeah. And so I think that's what's happening. And when, you know, if you study the literature, if you work in spiritual direction, and you're looking at what happens with the dark night of the soul. That's a real dark night, not a clinical depression or something like that, but an actual dark night. You have to go through it. You can't bypass it. You can't work your way out of it. You can't talk your way out of it. And what happens is you find yourself increasingly hungry for simplicity, for a simple but clear experience of God, because it's like God's disappeared. There's a deep loneliness, even a sort of cold hell, to being in a dark night of the soul. And so there's a restlessness, there's a longing for actual experience of God. There's a feeling of futility. Things that used to work don't work anymore. So you know the threefold path? The purgation, illumination and union is one way that we've learned to think about what happens. The purgation part is— we're there.Debra Rienstra We're being purgated.Elaine Heath We're being purgated, yeah. And at the same time that we're having these flashes of intuitive knowing, this sort of illumination is coming. “Oh, let's pay attention to the saints and mystics who lived through things like this. What gave them life? What helped them to keep showing up and being faithful?” And we're having moments of union too, when we feel like, “Oh, discipleship means I make sure that the trees are cared for and not just people. Oh, all living things are interconnected. Quantum physics is teaching us a spiritual truth we should have known already.” So the three parts of that contemplative path are happening simultaneously. But I think what feels most forward to a lot of people is the purgation piece where you're like, “Oh, things are just dropping away. Numbers are dropping. Things that used to work don't work. What's going to happen now?” Sort of a sense of chaos, confusion. Tohu va bohu, yeah.Debra Rienstra Yeah, do you want me to explain what that is?Elaine Heath Yeah, chaos and confusion. From the beginning of time.Debra Rienstra It's the realm out of which creation is formed. So the idea that the spirit is drawing us into this dark night is actually really reassuring. We are where we're supposed to be. And even though it feels confusing and painful, there are these moments of wisdom—that's so reassuring. In fact, one of the things you write: the new reformation is all about the emergence. So this emergence is happening of a generous, hospitable, equitable form of Christianity that heals the wounds of the world. What is your vision about what the church needs to release and hold and create right now?Elaine Heath We need to release everything that even slightly has a hint of empire, that we have thought of as what it means to be the church, because that completely reverts what church is supposed to be about. So giving up empire, we need to take up the great kenotic hymn of Philippians two and actually live it.Debra Rienstra The self emptying hymn.Elaine Heath The self emptying. And it's not—I know that that can be problematic when we're thinking of women or, you know, groups that have been forced to empty themselves in an exploited way. But that's not really what that's all about. It's about showing up to God, paying attention, seeing what God's invitation is, then cooperating with that and just releasing the outcome. That's what that's about, and really finding out, what am I in this world for? What are we in this world for? And being about that and not about something else.Debra Rienstra Yeah, it's hard to release the ways that we have done things. Well, you have a congregation, you have a pastor, you have a sanctuary, you have programs, you want the kids to come, you need tithes, all of those systems. And actually, what you're doing here at Spring Forest—let's talk about that. What you're doing here at Spring Forest doesn't have any of that. Sunday services. There's no church building. You have barn buildings, you have farm buildings. No Sunday school, no adult ed, no choirs, organs, praise bands, any of that stuff, right? Do you think of Spring Forest as a new model for church? Perhaps one among many?Elaine Heath It's one among many. We're definitely shaped by traditional monasticism. We're shaped by early Methodism. We're influenced by the Catholic Worker Movement, and definitely Bonhoeffer's work and a number of others: the Clarence Jordan and Koinonia farms. And so we're influenced by all of those. We do have music sometimes at Forest Feast, if we have someone that can lead it, and, you know, do a good job. But the backbone of our worship life is morning and evening prayer. And that is so wonderful. You were here last night for Forest Feast, and we use the same structure we use for morning and evening prayer, and we have a group of about six people who are writing the liturgies for us, who have been writing for a year and a half now.Debra Rienstra Who are those people?Elaine Heath Well, there's Steve Taylor is our lay leader, and his wife, Cheryl, and then there's Donna Patterson, who's—none of them were here last night. They all had to go somewhere. But some of them are lay people. Some of them are clergy.Debra Rienstra And they don't live here?Elaine Heath No, they live— well, some of the people that write live far away, and they're in our digital community. But, yeah, Steve and Cheryl live in Lumberton, which is, you know, almost two hours away. But they're beautiful. I mean, if you go online and look at some of the last month, look at the prayers and see the—they're just truly beautiful, and they reflect our spirituality of our community.Debra Rienstra Yeah. So the community, it seems to me, you have had people living on the farm itself, but your community, like the Iona community, is both located here on this land, but also dispersed. And so you have that interaction, that conversation between this residential life. So let's try to describe for listeners: there's the farm. You live here with your husband. You have interns from Duke. You have a farm. What do you call Larry?Elaine Heath He's our farm coach.Debra Rienstra Coach, yes, I love that. They have the farm coach who has the farming knowledge that you all sort of follow. You have chefs. They don't live here either, but they come in. So you have a lot of people coming in and out on this farm. And you do regenerative farming. You have programs for kids, you have refugee support, and you can talk about that, trauma informed rest for spiritual leaders. And then a number of other things. The farm produces vegetables and those go to a CSA, and also a lot of it is donated. Why this particular assembly of activities? How does it all fit together? And what are the theological principles beneath each of these endeavors?Elaine Heath The overarching principle is that the Holy Spirit gives gifts to every believer and to every person, let's just be honest. And the job of the pastor, the pastor teacher, is to fan those gifts into flame, to help them have the support they need to use their gifts and that the ministries should be shaped by the gifts of the people, which means you can't use a cookie cutter. And we have numerically a small community, but incredibly high capacity of people. So we have these gifts that they have, and then the ministries are emerging out of those gifts. And it might seem like, why do you have refugee support? And you know, just name anything else we're doing. How does this fit together? The organizing principle—okay, so you have the foundation. These are gifts given by the Spirit. Our ministries are emerging from our gifts. And the organizing sort of a cohesive piece is our rule of life that ties everything together. And so our rule of life is prayer, work, table, neighbor and rest. And that rule of life came about after we lived here for a year, when we first started Spring Forest with—there was another pastor that co-founded it with me, Francis Kinyua, who's from Kenya, and he was my student in Dallas, and did all those other things with me. So we invited him to come. We had to work with three different bishops to kind of make it work. But it worked, you know. Anyway, we just waited for a year to see. We had lots of work to do with getting the farm ready to go and Francis and I went to Church World Service right away to say, “Hey, we have a lot of experience supporting refugees, and we would like to do that here as well.” So we got started with that, but we waited a year and then just articulated, what are the practices that we do that are keeping us grounded here and keeping us right side up. And it was those things, so we named it.Debra Rienstra Okay, you were just doing it, and then you named those things.Elaine Heath Instead of creating sort of an aspirational rule and tried to live into it, we named what was actually working, what was actually grounding us and felt life giving.Debra Rienstra Hi, it's me, Debra. If you are enjoying this podcast episode, go ahead and subscribe on your preferred podcast platform. If you have a minute, leave a review. Good reviews help more listeners discover this podcast. To keep up with all the Refugia news, I invite you to subscribe to the Refugia newsletter on Substack. This is my fortnightly newsletter for people of faith who care about the climate crisis and want to go deeper. Every two weeks, I feature climate news, deeper dives, refugia sightings and much more. Join our community at refugianewsletter.substack.com. For even more goodies, including transcripts and show notes for this podcast, check out my website at debrarienstra.com. D-E-B-R-A-R-I-E-N-S-T-R-A dot com. Thanks so much for listening. We're glad you're part of this community. And now back to the interview.Debra Rienstra You do partner a lot with, you know, “regular church folk.” It's that sort of in-and-out permeable membrane. How do you think about the relationship of what you're doing here, with Spring Forest, with the work of sort of standard congregations, is there like a mutuality? How do you think about that?Elaine Heath It's just like traditional monasticism. You've got a community that have this rule of life they follow. People who are not living in the community can become Oblates to the rule of life and have a special relationship. And usually those people go to church somewhere else. Part of our ethic here is we want to resist competition between churches, so we don't meet on Sundays to do things like programmatically. We usually just rest on Sundays and watch a movie and eat popcorn, you know.Debra Rienstra That's a spiritual practice.Elaine Heath But also, so there's that sort of historic piece, and people from churches come here for retreats. Lead teams come for retreats. People come—pastors, we have a lot of pastors who come here for a retreat. But also we are a mission community, so we're very active with supporting refugees. We're very active with the food programs that we have, and that gives people from a church—lots of churches don't have things like that going on. They don't have the resources for it, or they haven't figured it out. But that way, we can partner with churches and people can come here and they can actually get their hands in the soil, and they can teach somebody to read, and they can see little children learning where food comes from. They can help the chef with her kitchen things, you know. So it's a wonderful way to provide spiritual formation and missional formation to congregations that don't have those resources. And we can do these things together.Debra Rienstra Yeah. And that's that's premised on this being a place, an embodied place, a refugia space that people can come to. Yeah. I think that's a wonderful model. Do you yourself ever feel a sense of loss for “the old ways?” And I'm just thinking of this because at the beginning of your book, God Unbound, which is about Galatians, you write about how Paul challenges the Galatians to let go of their tight grip on the past, and you write about how you, reading that, felt yourself like a little bit of a traditionalist, you know, sort of defending, “But what about the past? What about the old ways?” Which you have loved too, right? So, how would you counsel people who have loved traditional church despite everything, and really do feel this sense of loss and wonder anxiously about what's next?Elaine Heath Yeah, I feel empathy. You know, something was going on in the Middle East at the time. I can't remember exactly the situation. There's always something going on, but it had to do with people's culture being wiped out and being told that what they believed didn't count and wasn't right and everything. And I was feeling such grief for them, and then all of a sudden, you know, I'm in Galatians, and think, “Well, that's how those people felt.” And even myself, there are things in my own daily practice that are—they're precious to me. My way of praying in the morning, the facing into the forest, you know, and things like that, that are rituals for me. And thinking, you know, if somebody told me “that doesn't matter,” how hard that would be. So I think in the spiritual journey, we come to the place, if we keep maturing, where we realize, in Merton's words, that so often we think it's the finger pointing to the moon, we think the finger is the moon. And it's that way about rituals and all sorts of things that we do, and we get to a place where we realize that intellectually and even spiritually, in an emotional way. But you can't force people to get to that point. This is something that happens as we grow and mature as life goes by. So what I have said to many people is, “If you are nurtured by traditional church, or, let's say, conventional church,”—because which traditional church are we talking about? One, right here, middle class, white, are we talking about Brazil? —”So if that nurtures you, keep doing it. But also realize that for other people, that's not nurturing. It feels dry and lifeless, and it's clear the Spirit is doing something new.” So instead of insisting everybody stop doing the new thing, and everybody has to come and do the conventional thing, you can be conventional in your worship and bless and make space for others so that we have a plethora of experiments going on. Because we're in a time of great emergence, as Phyllis Tickle wrote, and we need lots of experiments.Debra Rienstra Yeah. I appreciated what you wrote about trial and error. It's a time of trial and error, and it's okay to try things and have them not work. And that fits the refugia model too, really, really well. I mean, refugia don't always work. They just sometimes fail. Let's talk about a couple of key metaphors that I've noticed in your writings and in the website for Spring Forest too. One is that metaphor of the mycelial network, so the underground fungus that connects the creatures, the beings, the plants, the trees of the forest. I think is a wonderful metaphor too, for the way that faith and climate people, people who are worried about the climate crisis, and also people of faith—it's a great metaphor for how they're finding each other and connecting and building this sort of cultural and spiritual soil where the seeds of the future can grow. How is that metaphor meaningful for you here at Spring Forest?Elaine Heath Well, it means a lot in terms of the first of all, the diversity of expressions of ministry that are even here on the property, but also, especially in our dispersed community, through following the rule of life together, which—we are a practice-based community, rather than a dogma-based community. So as people are practicing those practices where they live and work and play, then they are forming community in a very specific, contextual way where they are. I think of Steve and Cheryl again, the friends I mentioned earlier. He's our lay leader. They live in a, I think a working class neighborhood in Lumberton, which is the land of the Lumbee here in North Carolina. And they have developed a wonderful, just neighborhood ministry there with—and they've been able, through potluck dinners and front yard barbecues and remembering people's birthdays and things like this, they've developed this friendship network in the neighborhood with people that are on complete opposite sides, politically, racially, and this is in the South, where you've got all sorts of issues. And they've taken the sort of ethic of Spring Forest here, but it's caused a mushroom to bloom there that looks really different from here. They don't have a farm, they don't have a forest, they've got this neighborhood. But the neighboring, the praying, the tabling, resting, all of those things are part of how they live there. And so it's fruiting there. And it's the same in other places in the world where we have people that live there.Debra Rienstra It's a good example, too, of how eating together is sacramental, both here and in these other networks that are connected to you. The Garden of Eden and the vision of the New Earth in Revelation are both important to you, that that whole long scriptural arc begin in a garden, end in a garden city, and then the Tree of Life is also your symbol, your logo. So how would you situate our work today as people of faith in that long arc of history, from the garden to the Garden City, and how does the Tree of Life fit into that for you?Elaine Heath There's a way in which the whole story is happening simultaneously. Does that make sense?Debra Rienstra Yeah.Elaine Heath It's all happening beyond time, sort of simultaneously. So sometimes we're living in the garden and we've been deceived, and now we have to figure out what to do, and sometimes we're rebuilding the wall, and sometimes we're on our way to Bethlehem, and sometimes we're in the garden of the new creation. And we can see it, and we're living that truth even while there's still the wall being built. There's a simultaneity to it all. But for me, I think especially of the theology of Julian of Norwich. That's why we have her icon here. There's this vision of love making all things new, that God, Christ, the risen Christ, says in Revelation 21:5, “Behold, I make all things new.” All things, not just a handful of people who get the right doctrine, not just—no, all things: horses and amoeba and all things are being made new in mysterious ways that we can't completely know.Debra Rienstra And that's Colossians one and Romans eight as well.Elaine Heath It's this thread that comes through scripture, and we get to participate in that, even while we don't see all the things completely made new, we get to be part of that. And to me, that's what it means to follow Christ. That's what it means to be a disciple. And to be the love of God enfleshed in this world is to keep participating in the making of all things new. This is why healing has such a central role in my theological vision and my practice, is it's making all things new.Debra Rienstra Healing land, healing people, healing communities.Elaine Heath Yeah, yeah. Healing theology. Theology has been so damaged by patriarchy and philosophy and all sorts of things, you know, and racism.Debra Rienstra Colonization. Yeah, so that embodiment is important even theologically, because we're not aiming for some abstract doctrinal perfection. We're not aiming to become disembodied creatures. We're aiming for this embodied redemption. And so working on the farm, healing, you know, getting muddy, walking through forests, harvesting veg, and you're able to invite people into that embodiment. Little kids doing yoga, I think that's wonderful. You know, just finding this kind of rest in their own little bodies. Eating—one of the most embodied and kinship-with-creation things we do, right? Taking it inside ourselves. And that, I think, is condensed in ritual. So I know that you have been playfully experimenting with rituals. I was able to be a part of the Forest Feast last night with my husband Ron and our friend Colin. And it was this beautifully curated event where we shared table together and then went through this prayer sequence that you described, and it was beautifully participative. I noticed you do a blessing of the animals too on the farm. So good thing these are blessed chickens and blessed dairy goats, blessed dogs and cats. What other sort of liturgical shenanigans have you tried to help people live into this embodied faith practice?Elaine Heath We do so many things. It's so much fun. It's never boring. It's never boring. We have a ritual in the fall, in late November, where we tuck the farm in and put it to bed for the winter, and we have the children come, we get some compost. You know, we've cleared out the beds, and they're gonna rest now. And so the children put some compost in. And we have a liturgy that we use. We light candles, and we thank Mother Earth for the food, we thank God for the opportunities. And so this is one of the things that we do ritualistically. We also have a spring ritual. It's very Hebrew-Bible like, right? With these seasons and the crops and the things with the liturgical seasons, we also have done a bunch of things. My favorite one so far was for epiphany, and this was two years ago. And so I had the interns from Duke Divinity School do the bulk of the planning. I just gave them a little bit of guidance about the four-fold order of worship and just some things like that. So we had a journey through the forest. It started here. We went on the forest trail. Of course, it was dark outside, and they had gone ahead and set up fairy lights at certain places where we're going to stop. And one of the interns' fiance was a musician, so he had his guitar, and he had one of those things where you can play the harmonica and play the guitar at the same time, but he was our troubadour, and all of us were the Magi. So there's this troop of Magi, and we would stop at each station along the way, and there were prompt questions that we would take five minutes, and people could respond to these questions. There would be a scripture reading, and we respond to the question, we go to the next station. And it was so amazing. People shared from their lives in a very deep way. It surprised me how quickly they went deep. Well, it was dark, and there were these twinkle lights, and there was the troubadour. Then we finally got up to the Christ child, and we went into the goat barn. And honestly, I get chills every time I even remember this. But the students had set up in the goat barn—and the goats were in the barn. Okay, they were behind a little chain link thing so they didn't step on the icons and everything. But they had set up an altar at the base of the feeding trough with a big icon of Mary with the Christ Child, candles, and some other things there. There were different icons and some fairy lights. And we went in there, and we all crowded in and began to sing. We sang “This Little Light of Mine,” we sang some Christmas carols, and finished the story. And then we came back to the house and had some snacks and talked about what kind of wisdom was given to us since we were Magi. We were going to be people seeking wisdom and seeking—it was the most beautiful thing. And we've done lots of things like that. We see the land here is a primary text to learn from and to listen to and to observe, not as a metaphor, but as, it's actually a conversation partner. So we do things like that.Debra Rienstra That playfulness is so exciting to me, this sense of using our tradition, using our scriptures, using the skills that we've honed as people of faith over generations, singing together, praying together, but experimenting with those things in new contexts and new ways, in new forms of embodiment that are just faithful and yet playful. And so, as you say, people go deep because they're sort of jarred out of their habitual ways, and that can be such a great formational moment and bonding moment too, and it's very memorable. We remember that in ways—you know, you had such joy on your face as you're describing that. What would you say as you look back over the last, well, let's see, it's been almost eight years? Seven, eight years here at this location. What would you say has given you the most anguish and what has given you the most joy?Elaine Heath Oh, anguish. Which story should I tell?Debra Rienstra Yeah, I don't want to make it sound like it's all been beautiful and romantic and perfect.Elaine Heath Whenever you have community, you have drama. Well, you know, at your typical church, you're gonna have drama sometimes. But what we've found a few times, and it's pretty predictable. This happens in traditional monasteries too, which is why they have novitiate periods that are sometimes quite lengthy and sort of staggered, like you put your toe in the water. People of very high capacity who are deeply grounded spiritually and have a real vision for the gospel, are attracted to community life like this. People who are really hurt, who've had a lot of brokenness, especially from religious institutions or abusive situations, trauma that that is unresolved, that has a lot of unhealed wounds, are also attracted to places like this, often with a sort of utopian hope, because of, you know, life's deficits.Debra Rienstra And they feel that this is a place of healing, and they're right about that.Elaine Heath They're right about it. And so what actually happens is sometimes with the person, the second category of person, will come and join in and just be so full of gladness, because, “Oh, these, these are real people, like they're really doing things in the world. This is what I've longed for.” But then, as relationships form, and we're doing life together, and we all bump up against each other at times, the unhealed wounds fester. And the way I see it is, God's bringing them to a place where, if they'll just do their inner work now, now that it's clear what's the next step—if they'll take the next step, whether it's get some therapy, stay on your meds, get some support for your addiction recovery, whatever the things are—if you'll take the next step, then this is a very supportive community that can help you. It's a village that can be around you and you will heal here in the context of this village. But sometimes people are not willing or not able, or it's not time in their own sense of what they can do, and so then they'll leave. Sometimes when people leave, this happens in traditional churches, for whatever reason, this is a common sort of psychological reaction, they'll create some sort of chaotic drama to be the excuse for leaving, rather than have to face the fact that it was time for me to take the next step, and I was too scared. Because that takes a lot of self awareness, you know, to come to realizations about things like that. So I know from talking to people, from, you know, friends that are in traditional monasteries and convents that this is a common thing that happens there. So it happens here sometimes, and it's never easy. It's always painful and always challenging, you know, but with God's help, we get through it. And so that's the anguish, when those kinds of things happen. We've had a time or two where, over the last 20 years, really, where a person would come in, usually a young adult who's very idealistic, and they're like, “This isn't a new monastic community. You're not forcing people to pray three times a day!” You know, whatever the thing is that they have in their head that is supposed to be, because we're pretty gracious, you know.Debra Rienstra You don't get up at three in the morning.Elaine Heath Yeah, that's not us. We can't do that because, especially if you've got families with children and, you know, you've got to get up and go to work in the morning. So sometimes there will be somebody that figures they know more than everybody else in the room, and they want to take over and run the joint. You know, that's not going to happen. So then that sometimes creates some anguish. What about the joy? The joy is—and there's so much to give me joy. I really, really love seeing people come alive, like I really love seeing people who have, especially people who have been harmed by religion, because of their identity or because of anything, and they find deep spiritual friendship. They find how to connect, in Buechner's words, their deep passion with the world's great need, and start a new thing. And it gives them so much joy. And it's actually helping people. It's helping the world. And just sort of fanning that flame, that gives me a lot of joy. I have so much joy being in touch with the land and the animals. I just really experience them directly mediating God to me. I feel the divine life in them, and I feel, I guess I get a lot of dopamine hits when I'm out there harvesting and when I'm, you know, brushing the goats and talking to the chickens and whatnot.Debra Rienstra They are blessed chickens!Elaine Heath They are blessed chickens.Debra Rienstra What advice would you give to church people who, even though they love their church and their community, recognize that something needs to change, but they don't know where to start? What advice would you give?Elaine Heath To start in their own home, if at all possible, start in their own neighborhood. Start having neighbors over for dinner. Do not tell them we're going to have a Bible study now, because that's—it's not to have a Bible study. It's to form friendships with our neighbors. Start neighboring well. Figure out who lives on my street. Who lives across the street? Invite them for dinner. Have neighborhood potlucks. We did this in Texas, right after we moved there, I think they're still going. We'd have 50 people in our house sometimes. But just invite the neighbors for dinner. Have a potluck. Get to know them. Remember their birthdays, go to their kids' graduation. When you find out their mother died, go to the funeral. It's so simple. It's just such basic neighboring. That's where to start. It's not a church program. It's not making you stop going to church somewhere, to go to church over here. What you're actually doing is living church in your own neighborhood. Start doing that.Debra Rienstra Elaine, it's been such a pleasure to be here on the farm with you and to talk with you, get to know you a little bit. Thank you for what you do, and thank you for spending some time with me today.Elaine Heath It's been a joy. Thank you for the interview.Debra Rienstra Thanks for joining us for show notes and full transcripts, please visit debrarienstra.com and click on the Refugia Podcast tab. This season of the Refugia Podcast is produced with generous funding from the Calvin Institute of Christian Worship. Colin Hoogerwerf is our awesome audio producer. Thanks to Ron Rienstra for content consultation as well as technical and travel support. Till next time, be well. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit refugianewsletter.substack.com

In this episode, I sit with the words of Thomas Merton, an American Trappist monk, writer, and mystic whose reflections on faith, identity, and community continue to resonate decades after his death. Merton warns against what he calls “the heresy of individualism,” the temptation to define ourselves only by what we're not, to build our lives on separation and judgment. His challenge struck me deeply, because I've lived that temptation:  shrinking myself, building an island of “no,” and cutting myself off from connection. In this conversation, I explore what it means to move off the island, to see others as mirrors, and to rediscover the breath of the Spirit by starting with yes. If this episode meant something to you, I'd love it if you'd take a second to like, subscribe, and leave a review, it really helps more people find the show. If you would like to reach out to me you can drop me a line at clemenzwithaz@gmail.com or drop a DM at the clemenz with a "Z" instagram page.   You can head over to https://gofund.me/7ebb0524 every bit helps. And if you're looking for more reflection, honesty, and spiritual wrestling, check out my Substack: Devotionals for the Deconstructing & Disillusioned, it's a space for people who still have soul, but no longer fit in the boxes they were handed. Thanks for being here.

Over the past half-century, evangelical Christians have rediscovered spiritual formation. Richard Foster, Dallas Willard, John Ortberg, and more recently John Mark Comer have helped re-emphasize spiritual practices and the interior life. But why does so much popular writing and teaching on spiritual formation lean on Catholic sources – mystics and monks and Merton? Is there a distinctly Protestant stream of spiritual formation that we can rediscover? If so, what might it teach us? In this episode, we interact with a new book from Matthew Bingham, A Heart Aflame for God. Bingham asserts that there IS a deep Protestant tradition of spiritual formation, and one of its distinctives is the centrality of Scripture. In this episode, we discuss why we tend to minimize Scripture in spiritual formation, why the Puritans saw Scripture as central to spiritual formation, and how we can practically foreground the Scriptures in our spiritual practices.Chapters:(0:00) Introductions: Have We Lost the Thread on Spiritual Formation?(4:26) The Primacy of the Word of God(13:23) Some Critiques of a Word-Centric Spiritual Formation(20:43) What the Puritans Have to Say(26:22) Let the Word of Christ Dwell in You Richly

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Chris's SummaryJim and I review a recent article featuring Robert Merton's views on retirement income versus savings, using it as a springboard to unpack income planning fundamentals and annuity projections. While we agree with many of Merton's framing points—especially the focus on secure income—we also note several key areas where academic theory diverges from real-world […] The post Retirement Income Versus Savings: EDU #2532 appeared first on The Retirement and IRA Show.

Lectio Divina (“divine reading” in Latin) is a centuries-old tradition of being inspired by reflecting on the text of a scripture. It may also be considered in terms of “reading” creation and what Thomas Merton called the “calligraphy of nature.” Merton (1915-1968) was a Catholic monastic and mystic whose writing impacted vast numbers of Christians by introducing them to a perspective on Eastern traditions they had never been exposed to before. He used his journaling as a portal into prayer, an entryway to clarity of thinking and love for God. He acknowledged times of doubt, fear, and anger and wrote with self-honesty and courage through it all. Merton walked a razor's edge in monastic life as his writings were subject to censorship in the Church. He met Tibetan Buddhist masters, considered Zen, Hindu, and Sufi teachings, and reported his own nondual experience. He wrote about the Vietnam war and had communications with Martin Luther King, Joan Baez, and many other public figures and writers. Merton stayed the course within the Catholic Church, sensing that God had placed him where he was. He was much loved by those resonant with the roots of mystical Christianity and maligned by those who were rigid and felt he had gone outside of the bounds of his faith. His overriding context was that all of life is a play of God. He felt that our desire to go where God wants us to go is praise of God and that “The gate of heaven is everywhere.” Journaling can be a way of communicating with the deep self, our highest self. Prompts were given to those who attended the talk, and some shared their journaling about “what I know and don't know about prayer.” Regina Sara Ryan was the editor of Hohm Press for 35 years. She is a workshop leader, retreat guide, and author of The Woman Awake, Igniting the Inner Life, Praying Dangerously, Only God, and other books.

What if uncertainty could still lead us to God? Merton's prayer is striking in its vulnerability ("I have no idea where I am going"), yet it also affirms that our desire to please God is enough, even in our ignorance.Questions for Reflection:  1. Did you know much about Thomas Merton before today's sermon? What surprised you about his life and witness?2. Can you think of a time when you were unsure if you were being faithful or obedient to God, but knew in your heart that you were trying to orient your life to God's will and God's ways? What was that like?3. How might God be inviting you to use this prayer (or another one from our series) in your daily faith walk?Find out more at HydeParkUMC.org/NextSteps

Is there collusion in our field? Do we have elites running wild, making sure that their work gets published whilst the rest of us struggles to find room to publish our own work? And are we handling conflicts of interest that may exist between authors and the editors who are charged with making decisions about their work? These are serious questions. They target the core of our field, they have the potential to undermine – or bolster – the legitimacy of all our scholarship, and they pose serious material consequences for all scholars, their careers and ultimately their lives. We came across a new paper that reports an analysis of the potential conflict of interest issues in academic publishing, and we use this paper to reflect on our experiences as both authors and editors. We try to draw a few conclusions and recommendations about how we can raise awareness and build institutional trust to minimize if not avoid any questionable or outright unethical practices in publishing. Episode reading list Association for Information Systems. AIS Podcast Library, . Mindel, V., & Ciriello, R. (2025). Safeguarding Academic Legitimacy: Editorial Conflicts of Interest as a Principal-Agent Problem in Elite Business Journals. SSRN, . Recker, J., Rosemann, M., Green, P., & Indulska, M. (2011). Do Ontological Deficiencies in Modeling Grammars Matter? MIS Quarterly, 35(1), 57-79. Lee, J., & Berente, N. (2012). Digital Innovation and the Division of Innovative Labor: Digital Controls in the Automotive Industry. Organization Science, 23(5), 1428-1447. Kane, G. C., Young, A., Majchrzak, A., & Ransbotham, S. (2021). Avoiding an Oppressive Future of Machine Learning: A Design Theory for Emancipatory Assistants. MIS Quarterly, 45(1), 371-396. Grisold, T., Berente, N., & Seidel, S. (2025). Guardrails for Human-AI Ecologies: A Design Theory for Managing Norm-Based Coordination. MIS Quarterly, . Boh, W., Melville, N. P., Baptista, J., Chasin, F., Horita, F., Ixmeier, A., Johnson, S. L., Ketter, W., Kranz, J., Miranda, S. M., Nan, N., Pentland, B. T., Recker, J., Sadeghi, S., Sarker, S., Sarker, S., Sutanto, J., Wang, P., & Wilopo, W. (2025). Digital Resilience for the Climate Crisis: Theoretical Perspectives and Ideas for Future Information Systems Research. MIS Quarterly, forthcoming. Merton, R. K. (1968). The Matthew Effect in Science. Science, 159(3810), 56-63. Tiwana, A., & Safadi, H. (2025). Silence Inside Systems: Roots and Generativity Consequences. Information Systems Research, . Li, J., Li, M., Wang, X., & Thatcher, J. B. (2021). Strategic Directions for AI: The Role of CIOs and Boards of Directors. MIS Quarterly, 45(3), 1603-1643. Pienta, D., Vishwamitra, N., Somanchi, S., Berente, N., & Thatcher, J. B. (2025). Do Crowds Validate False Data? Systematic Distortion and Affective Polarization. MIS Quarterly, 49(1), 347-366.  

Today's guest is Victor Haghani, founder and CIO of Elm Wealth, which focuses on managing wealth with an emphasis on diversification, low fees, and tax efficiency. He's also the author of The Missing Billionaires: A Guide to Better Financial Decisions. In today's episode, Victor explores the Crystal Ball challenge, and how position sizing can be even more important than knowing tomorrow's news headlines. He also addresses the role of disciplined asset allocation in investment strategy, and how foreign stocks might stack up against US equities going forward. Finally, Victor touches on the relationship between expected return, fair value, and mean reversion, and whether or not the markets have a fair value at all. (0:00) Starts (1:45) Introduction of Victor Haghani (2:01) "Tomorrow's Newspaper Today" study (11:46) The Merton share (19:34) Elm Wealth's asset allocation strategy (24:02) Behavioral and tax implications in investing (39:19) Market timing models (56:01) Consumer behavior and Roth IRA conversions (1:02:05) Macro & mean reversion (1:06:08) Victor Haghani's most memorable investment ----- Follow Meb on X, LinkedIn and YouTube For detailed show notes, click here To learn more about our funds and follow us, subscribe to our mailing list or visit us at cambriainvestments.com ----- Sponsor: YCharts enables financial advisors to make smarter investment decisions and better communicate with clients. Get 20% off your initial YCharts Professional subscription when you start your free trial. Follow The Idea Farm: X | LinkedIn | Instagram | TikTok ----- Interested in sponsoring the show? Email us at Feedback@TheMebFaberShow.com ----- Past guests include Ed Thorp, Richard Thaler, Jeremy Grantham, Joel Greenblatt, Campbell Harvey, Ivy Zelman, Kathryn Kaminski, Jason Calacanis, Whitney Baker, Aswath Damodaran, Howard Marks, Tom Barton, and many more.  ----- Meb's invested in some awesome startups that have passed along discounts to our listeners. Check them out here!  ----- Editing and post-production work for this episode was provided by The Podcast Consultant (https://thepodcastconsultant.com). Learn more about your ad choices. Visit megaphone.fm/adchoices

In this Gloria Grahame Acteurist Oeuvre-view episode we get to see more of what MGM was (not) doing with our acteur's career. Underused in Song of the Thin Man (1947), in which she brings the only real noir energy to the final Thin Man film, she gets a similarly brief but memorable role in the Red Skelton vehicle Merton of the Movies (1947), playing the most innocent nymphomaniac in cinematic history. We uncover the legacy of Harry Leon Wilson's 1922 Merton of the Movies novel and surprise ourselves with our appreciation of Red Skelton's acting.  Time Codes: 0h 00m 25s:    SONG OF THE THIN MAN (1947) [dir. Edward Buzzell] 0h 16m 33s:    MERTON OF THE MOVIES (1947) [dir. Robert Alton] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Want to Start or Grow a Successful Business? Schedule a FREE 13-Point Assessment with Clay Clark Today At: www.ThrivetimeShow.com   Join Clay Clark's Thrivetime Show Business Workshop!!! Learn Branding, Marketing, SEO, Sales, Workflow Design, Accounting & More. **Request Tickets & See Testimonials At: www.ThrivetimeShow.com  **Request Tickets Via Text At (918) 851-0102   See the Thousands of Success Stories and Millionaires That Clay Clark Has Helped to Produce HERE: https://www.thrivetimeshow.com/testimonials/ Download A Millionaire's Guide to Become Sustainably Rich: A Step-by-Step Guide to Become a Successful Money-Generating and Time-Freedom Creating Business HERE: www.ThrivetimeShow.com/Millionaire   See Thousands of Case Studies Today HERE: www.thrivetimeshow.com/does-it-work/  

Writer Nicholas Triolo walks the length of the Rio Côa in central Portugal with a book by Christian mystic Thomas Merton in his pack. For Merton, the living world shimmered with a divine feminine presence, meaning all within it was worthy of our love. Along the winding landscape of the Côa, damaged by agriculture and home to endangered animals, Nicholas witnesses the messy, subversive nature of “rewilding.” And with Merton as his companion on the journey, he begins to feel a wild, relational divinity in the land around him, and a devotion essential to rewilding place and self amid today's crises of despair and destruction.  Read the essay. Photo by Ricardo Ferreira / Courtesy of Rewilding Portugal. Learn more about your ad choices. Visit megaphone.fm/adchoices

In an age obsessed with "knowing oneself," how do we not get stuck in endless autobiography and self-absorption?  At its best, a healthy spiritual and religious life helps free us from the cul-de-sac of narcissistic feedback.  In the episode, we'll look at a story from Saint Antony, a paragraph from C.S. Lewis about hell, and I'll outline the four foundations of a spiritual life from the book Journey Into Emptiness by Robert Jingen Gunn (a book about Dogen, Merton and Jung).  See below for the link I promised in the episode about the Cree mountains of human development.  Enjoy!   https://decolonialfutures.net/portfolio/fourmountains/#:~:text=Each%20mountain%20represents%20a%20stage,one%20mountain%20to%20the%20other. https://www.patreon.com/c/kentdobson  

Brian Harnetty's recent record, Words and Silences, takes voice recordings made by the famed American Trappist monk Thomas Merton and sets them within Harnetty's musical compositions. The meditative and revealing result has been lauded by critics in The Wire, MOJO, and Aquarium Drunkard.  In this episode, we share a Phantom Power exclusive: a brand new narrative piece that Brian created about the making of his record. “Words and Silences: The Thomas Merton Hermitage Tapes” is much more than a behind-the-scenes look at Brian's process. Harnetty's audio diary is its own moving meditation on Merton, solitude, sound, media, and the self.  This is the second piece that Brian has shared with Phantom Power–you may remember his Forest Listening Rooms episode. Like that episode, this is something special. We highly recommend taking a walk in the woods or finding a quiet space to listen to this beautiful meditation. And after we listen, Mack talks to Brian about what we've heard.  (And, of course, we'll have a longer version of the interview and our What's Good segment for our Patrons.) Who was Thomas Merton? Thomas Merton was an author, mystic, poet, and comparative religion scholar who lived from 1915 to 1968. It's hard to imagine a spiritual superstar quite like Merton appearing in America today. His first book, 1948's “The Seven Storey Mountain,” became a best-seller and led to a flood of young men applying to join Catholic monasteries.  Merton had a major influence on spaces such as the progressive Catholic church Mack grew up going to. He was outward facing, committed to leftist causes, and fascinated by other religions, but at the same time, he retreated from his fame into his hermitage in KY. In The New Yorker, Alan Jacobs called him “perhaps the proper patron saint of our information-saturated age, of we who live and move and have our being in social media, and then, desperate for peace and rest, withdraw into privacy and silence, only to return.” Brian Harnetty Brian Harnetty is an interdisciplinary sound artist who uses listening to foster social change. He is known for his recording projects with archives, socially engaged sound works, sound and video installations, live performances, and writings. His interdisciplinary approach has been compared to “working like a novelist…breathing new life into old chunks of sound by radically recontextualizing them” (Clive Bell, The Wire). Brian is currently a Faculty Fellow at Ohio State University's Global Arts and Humanities Discovery Theme (2022-23), Harnetty is a two-time recipient of the MAP Fund Grant (2021, 2020), and received the A Blade of Grass Fellowship for Socially Engaged Art in Contemplative Practices (2018) and the Creative Capital Performing Arts Award (2016). He has also twice received MOJO Magazine's “Underground Album of the Year” (2019, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

For this BCR series I have been asking American peacemakers: “What are we talking about when we talk about ‘The American'?”This program looks to a Jesuit priest and peacemaker Thomas Merton. At the end of “The Root of War” published in The Catholic Worker in 1962 – Thomas Merton wrote – “The first job of all is to understand the psychological forces at work in ourselves and in society.” That in a nutshell is the purpose of my conversations with American peacemakers.Merton's autobiography -- “The Seven Storey Mountain” -- is about “a young man who led a full and worldly life and then, at the age of 26, entered a Trappist monastery.” In Kentucky, Merton focused his thoughts and prayers on nonviolence and influenced all the major peacemakers of the second half of the 20th Century -- Martin Luther King, the Dalai Lama, Desmond Tuto, the Berrigans, Dorothy Day and on and on -- Father John Dear will help us delve into Merton's non-violence. Dear was born in North Carolina – graduated with top honors from Duke University – received two masters degrees in theology – and was ordained a Catholic Jesuit priest in Baltimore in 1993. John has worked with people scheduled to executed – served at a community center for low-income African-American women and children in Virginia – worked as pastor to parishes in the high desert of New Mexico and founded Pax Christi New Mexico. Worked at a Jesuit Refugee camp in El Salvador. On and on –In a recent email, John described himself as follows:Just so you know, like Merton, Dorothy Day, and Dan Berrigan, I consider myself a Christian anarchist. I'm done with America.It helps to be arrested 85 times and spend time in jail and have several felony convictions. I don't believe in America; I think it's all a lie.If anything, we're global citizens, or citizens of God's reign of universal love and peace. We're all one.That's where I'm at; and I get that from those three -- very few hold it. If this sounds like something you want to ask me about, then ok, let's talk,All the best, peace,JohnIn January 2014 Dear left the Jesuits for reasons that become obvious in this conversation.Alan WInsonbarcrawlradio@gmail.com Hosted on Acast. See acast.com/privacy for more information.

These conversations with our guests this season have been a profound privilege and truly humbling experience. Together, Colleen and Mark have embraced the role of students, exploring contemplative practice and meditation from diverse perspectives, and our guest in this episode is offering us some profound insights into the wisdom of the mystics within the Christian perspective.We are honored to ‘sit at the feet' of Dr James Finley, a student of Thomas Merton and also a clinical psychologist. Jim teaches how connecting to our divine indwelling can transcend fear and shame, and awaken us to our true self. He is a faculty member at the Center of Action and Contemplation.Jim has authored numerous books, including Merton's Palace of Nowhere, The Contemplative Heart, and Christian Meditation. He also hosts the Center for Action and Contemplation's podcast, Turning to the Mystics.Join us in exploring the way contemplative practices, particularly within the Christian mystical tradition, opens us up to a unitive experience of God's presence in all aspects of life, transforming both suffering and the ordinary into expressions of extraordinary grace.Find out more about Dr. James Finley:On the CAC website: https://cac.org/about/our-teachers/james-finley/The Turning to the Mystics podcast: https://cac.org/podcast/turning-to-the-mystics/To connect further with us:Visit our website: www.contemplativeoutreach.orgFind us on Instagram: https://www.instagram.com/prayerofconsentLike us on Facebook: https://www.facebook.com/prayerofconsentCheck out our YouTube channel: https://www.youtube.com/@prayerofconsentOr explore our Threads: https://www.threads.net/@prayerofconsentTo learn more about Father Thomas Keating's guidelines for service and principles visit www.contemplativeoutreach.org/vision. Stream and Download the Opening Minds, Opening Hearts Podcast NOW for FREE on Apple Podcast, Google, Amazon and Spotify!

Full Video Series at Mary Wollstonecraft goes off on Rousseau, hoisting him with his own Petard, as it were.* 00:00 Opening 00:57 I Have Notes 06:26 CHAPTER 3 06:44 Introduction to Bodily Strength and Gender 07:34 Misconceptions About Genius and Health 10:21 The Superiority Debate: Men vs. Women 11:43 ROUSSEAU Footnote: Why Women Can't ________ 17:38 Education and Female Virtue 19:01 EXTENSIVE   FOOTNOTE from Mr. Day's "Sandford and Merton", Vol III 22:30  Critique of Rousseau's Views on Women 27:11 ROUSSEAU Quote re Girls & Dolls & Coquettes 30:39 ROUSSEAU Footnote on Girl Writing the Letter "O" 36:30 The Consequences of Female Subjugation 38:05 The Call for Rational Education 40:51 The Corruption of Power and Female Dignity 41:24 Revolutionizing Female Manners 44:55 The Nature of Worship and Rational Conduct 47:20 The Role of Women in Society 51:53 The Consequences of Dependence 54:36 ROUSSEAU Footnote: Men Have All The Good Qualities (sorry ladies!) 01:02:06 ROUSSEAU Footnote - "How Lovely is Her Ignorance" 01:07:13 Summing Up: The Call for Rational Virtues 01:10:53 Outro • Xiran Jay Zhao, Author of "Iron Widow" has an amazing Channel chock full of things you never knew you needed to learn—but you do.    /   • If you've never read Anne Brontë, please take a listen to CraftLit's "The Tenant of Wildfell Hall" (starts with episode 516—). She's the most shocking, most modern, and arguably the best of the Brontë writers. You likely missed her b/c Charlotte didn't like this book's 'sensibilities' and did what she could to ghost it after Anne's death. Bad Charlotte! *The phrase's meaning is that a bomb-maker is blown ("hoist", the past tense of "hoise") off the ground by his own bomb ("petard"), and indicates an ironic reversal or poetic justice. []

What if love was the truest measure of who we are—not our achievements or titles, but the way we love and are loved? In today's episode, we're diving into this profound question through the lens of Thomas Merton, a contemplative writer whose reflections on love invite us into a deeper understanding of what it truly means to be “real.” Merton wrote that love is what breathes life into us, a force that, when shared, grows and fills the world. As we uncover his insights, we'll explore how this love transforms us, forging a connection not only to each other but also to the heart of God. Drawing from Merton's New Seeds of Contemplation, we explore his belief that God's love flows uniquely through each of us, creating a beautiful mosaic of divine presence. “Because God's love is in me, it can come to you from a different and special direction… And because it is in both of us, God has greater glory.” In this vision, love becomes a profound and personal exchange, as the divine presence moves through us, offering something precious to one another that no one else can replicate. Join us as we reflect on this life-giving love that makes us real, opening us to both a unique connection with each other and to a fuller experience of God's glory.   Links New Seeds of Contemplation by Thomas Merton From Head Knowledge to Heart Knowledge (UL Podcast episode) __________________________________________________ Connect with Alan on LinkedIn or learn more about Unhurried Living programs on their website.  Learn about PACE: Certificate in Leadership and Soul Care Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Have you ever wondered how the world's top financial thinkers shaped the way we invest today? In this episode, Ben and Cameron sit down with Professor Stephen Foerster from the Ivey Business School to explore the evolution of modern investing. As a distinguished financial expert and co-author of In Pursuit of the Perfect Portfolio, Professor Foerster dives into the groundbreaking work of financial pioneers like Harry Markowitz, Bill Sharpe, Gene Fama, and others, unpacking their remarkable contributions to portfolio management, risk assessment, and market efficiency as we know it today. Tuning in, you'll gain a deeper understanding of Markowitz's revolutionary diversification theory, Sharpe's introduction of beta as a risk measure, and Fama's Efficient Market Hypothesis, as well as each of their perspectives on the “perfect portfolio,” tying together the history, theory, and practical application of modern investment strategies. Whether you're looking to sharpen your strategy or build your investment knowledge from the ground up, this conversation with Professor Foerster is packed with actionable takeaways and fascinating stories that could change the way you approach your financial future. Don't miss this opportunity to learn from the thought leaders who shaped the market!   Key Points From This Episode:   (0:03:29) Contrasting the historical art of investing with the modern science of investing. (0:04:44) Markowitz's diversification theory and the importance of balancing risk and return. (0:09:39) Sharpe's capital asset pricing model (CAPM) and his contribution to measuring risk. (0:16:13) Insight into Fama's Efficient Markets Hypothesis and the joint hypothesis problem. (0:19:13) The rise of factor investing and the significance of Fama-French's three-factor model. (0:23:26) Unpacking Shiller and Fama's main point of disagreement on bubbles. (0:26:50) Bogle's perfect portfolio and persistence about the index fund, despite resistance. (0:29:37) How the Black-Scholes-Merton (BSM) option pricing formula changed the world. (0:34:37) Ways that Merton contributed to portfolio theory and his take on TIPS. (0:36:20) Key takeaways from talks with Martin Leibowitz, Charlie Ellis, and Jeremy Siegel. (0:37:35) An interesting analogy for Professor Foerster's take on the “perfect portfolio.” (0:40:53) Correlation vs. causation in stock pricing and how it applies to factor investing. (0:46:38) Examples of masterly inactivity and investor lessons from Madoff's Ponzi scheme. (0:52:07) The dangers of FOMO, a SPACs cautionary tale, and lessons from value investors. (1:00:43) Winning at tennis vs. investing and risks of over-reliance on automated decisions. (1:06:02) Long-term lessons from pioneers in finance to improve investment strategies today.   Links From Today's Episode: Meet with PWL Capital: https://calendly.com/d/3vm-t2j-h3p Rational Reminder on iTunes — https://itunes.apple.com/ca/podcast/the-rational-reminder-podcast/id1426530582. Rational Reminder Website — https://rationalreminder.ca/  Rational Reminder on Instagram — https://www.instagram.com/rationalreminder/ Rational Reminder on X — https://x.com/RationalRemindRational Reminder on TikTok — https://www.tiktok.com/@rationalreminder Rational Reminder on YouTube — https://www.youtube.com/channel/ Rational Reminder Email — info@rationalreminder.caBenjamin Felix — https://pwlcapital.com/our-team/ Benjamin on X — https://x.com/benjaminwfelix Benjamin on LinkedIn — https://www.linkedin.com/in/benjaminwfelix/ Cameron Passmore — https://pwlcapital.com/our-team/ Cameron on X — https://x.com/CameronPassmore Cameron on LinkedIn — https://www.linkedin.com/in/cameronpassmore/ Professor Stephen Foerster — https://stephenrfoerster.com/ Ivey Business School — https://www.ivey.uwo.ca/ Stephen Foerster on LinkedIn – https://www.linkedin.com/in/stephen-foerster-26b85319/ Stephen Foerster on X – https://x.com/profsfoerster Stephen Foerster Books — https://www.amazon.com/stores/author/B001KDO1L0 ‘Cristiano Ronaldo snubbed Coca-Cola. The company's market value fell $4 billion.' — https://www.washingtonpost.com/sports/2021/06/16/cristiano-ronaldo-coca-cola/   Books From Today's Episode:   In Pursuit of the Perfect Portfolio: The Stories, Voices, and Key Insights of the Pioneers Who Shaped the Way We Invest — https://www.amazon.com/dp/0691229880 Trailblazers, Heroes, and Crooks: Stories to Make You a Smarter Investor — https://www.amazon.com/dp/B0DHLVYK1Q In Pursuit of the Unknown: 17 Equations That Changed the World — https://www.amazon.com/dp/0465085989 A History of Interest Rates — https://www.amazon.com/dp/0471732834 Winning the Loser's Game: Timeless Strategies for Successful Investing — https://www.amazon.com/dp/0071813659 Stocks for the Long Run — https://www.amazon.com/dp/1264269803/ Extraordinary Tennis For The Ordinary Player — https://www.amazon.com/dp/0517511991   Papers From Today's Episode:    ‘Efficient Capital Markets: A Review of Theory and Empirical Work' — https://doi.org/10.2307/2325486 ‘The Loser's Game' — https://doi.org/10.2469/faj.v31.n4.19 'The Pricing of Options and Corporate Liabilities' — https://doi.org/10.1142/9789814759588_0001  

This past week, friend of the pod, Greg Hillis passed away. Greg was a great scholar and wrote a fantastic book on Thomas Merton called Man of Dialogue: Thomas Merton's Catholic Vision. Back in 2019 we talked with him about his book. Tune in and celebrate Greg with us. You can get Greg's book here: https://litpress.org/Products/8460/Man-of-Dialogue?srsltid=AfmBOopqHnBJy3UDYkI9esGMSr8Wp5uait3kASHrrUddqZT2S-RtmPJFRead America's obituary of Greg here: https://www.americamagazine.org/faith/2024/10/10/tribute-greg-hillis-249015Give to his family's go fund me here: https://www.gofundme.com/f/fc7rs-gregs-cancer-battle

Sharing inspiration from the monk Thomas Merton, James Finley explains what he has learned about God, healing, and mystical paths.Grab James Finley's Memoir, The Healing Path, HEREThis week, James and Raghu have a deep conversation about: How James discovered a connection to God through Thomas MertonJames' time living in the Abbey of Gethsemani immediately after high schoolThe resonance that happens between awakened peopleThe secret, safe place that God can commune with usNever forgetting what we learn from dark timesHaving empathy for others through our own sufferingSeeing children as our mentorsBecoming an act of acceptance for the unexplainable mysteryThe healing stories in the gospelsAbout James Finley:James Finley is an author, clinical psychologist, and spiritual director. He is one of the core faculty members of the Center for Action and Contemplation (with Richard Rohr) and is host of the CAC podcast “Turning to the Mystics.” A former novice under Thomas Merton at the Abbey of Gethsemani, he is the author of the classic book Merton's Palace of Nowhere: A Search for God through Awareness of the True Self. A leading figure in the integration of psychology and spiritual direction, he has led workshops and retreats around the country.“Often, when the terror is overtaking us, it isn't until later that we reflect on it. We realize it isn't that it wasn't terrible, but it wasn't just terrible. That precisely because it got so dark I was able to see a light shining in the darkness that had come in looking for me, or it was there all along and I didn't know it.”– James FinleySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.